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Speaker 1: Brought to you by the reinvented two thousand twelve camera.

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Speaker 1: It's ready. Are you get in touch with technology with

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Speaker 1: tech Stuff from how stuff works dot com. Hello again, everyone,

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Speaker 1: welcome to tech Stuff. My name is Chris Poulette, and

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Speaker 1: I am the tech editor here at how stuff works

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Speaker 1: dot com. And sitting across from me, as he always does,

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Speaker 1: is senior writer Jonathan Strickland. And I would like to

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Speaker 1: rock and roll all night and party every day. Well,

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Speaker 1: and you can, thank you. Let's start off with a

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Speaker 1: little listener mail. This little listener mail comes from Charlie. Hey, Charlie,

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Speaker 1: sorry at a little unicorn moment there, says okay, you

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Speaker 1: haven't seen that video? All right, Charlie the unicorn. We're

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Speaker 1: watching it after this episode. Hi guys, I'm a big

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Speaker 1: fan and longtime listener. I've been noticing a lot of

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Speaker 1: positions have been using something known as auto tune more

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Speaker 1: prominently than ever lately. How does this work? Is this

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Speaker 1: a new technology? Keep up the great work, Charlie, so um.

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Speaker 1: Auto tune has been around for a while, as it

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Speaker 1: turns out, and another podcast covered this briefly, and it

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Speaker 1: wasn't high speed stuff. Although they do talk about autos

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Speaker 1: and tuning. It was stuff from the B Sides, which

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Speaker 1: had an episode about auto tuning, but we were going

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Speaker 1: to cover it as well. So auto tuning is also

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Speaker 1: known as pitch correction. Yes, it's when it's it's being

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Speaker 1: able to do digitally nudge a person's voice. So it's

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Speaker 1: closer to being on pitch um Now in the good

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Speaker 1: old days, and by the good old days, I mean

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Speaker 1: the old in the old days, what you would do

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Speaker 1: is you get a group of musicians in the studio

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Speaker 1: and you would start recording tracks, and whenever the lead

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Speaker 1: vocalist would uh would flub a note, you would just

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Speaker 1: make a mark of that and you would do another take,

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Speaker 1: and you do another take, and you do another take,

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Speaker 1: and even for the ones that sounded good all the

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Speaker 1: way through, you would do extra takes and then you

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Speaker 1: would cobble together the best sounding song from those multiple

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Speaker 1: takes using actual editing UH procedures. Yes um. Speaking as

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Speaker 1: someone who's gone through this process, I can tell you

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Speaker 1: it's not not nearly as much fun as it sounds,

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Speaker 1: and it doesn't really sound like all that much fun.

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Speaker 1: And before digital techniques, we're talking about things like splicing

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Speaker 1: sections of tape together with you know, a razor blade

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Speaker 1: and and you know, splicing material, trying to get it

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Speaker 1: so that you have one long, continuous take that is

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Speaker 1: in tune right, and you have to be very careful

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Speaker 1: to make sure it's all matched up just right so

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Speaker 1: that you can't detect the break beaus taking pains, taking work,

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Speaker 1: and before that, you're pretty much just stuck with whatever

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Speaker 1: you got ding. Like if if if you were recording,

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Speaker 1: especially on something like say, I don't know a wax cylinder,

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Speaker 1: it didn't matter if you flubbed it. That was how

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Speaker 1: that was gonna go out, warts and all all. But

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Speaker 1: But as as we began to get better at editing music,

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Speaker 1: are standards started to go up, and we began to

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Speaker 1: refuse to listen to music that seemed to have uh

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Speaker 1: some flaws, and that we the fewer the flaws, the

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Speaker 1: better in our opinion. Uh, in general, there's still people

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Speaker 1: out there who prefer the more genuine music, if you

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Speaker 1: want to call it that. I'm not going to get

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Speaker 1: into that argument, because, uh, there are those people who

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Speaker 1: love the super produced stuff, and they're the people who

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Speaker 1: love the strip down stuff. And I don't think anyone

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Speaker 1: is wrong. Um, and you know, it's all a matter

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Speaker 1: of personal opinion at any rate, So editing that was

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Speaker 1: the only way you could really get rid of a

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Speaker 1: flubbed note. But then a fellow by the name of

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Speaker 1: Harold Hildebrand, better known as Andy to his buddies, came

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Speaker 1: up with a special kind of software. It's this is

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Speaker 1: believe it or not, the oil industry's contribution to music.

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Speaker 1: That is not the joke. It really is. Mr Hildebrand,

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Speaker 1: as it turns out, before he got into the world

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Speaker 1: of making musicians sound better than they really do, was

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Speaker 1: a geophysicist. He created seismic data processing software, and this

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Speaker 1: was a software that would sort of measure the the

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Speaker 1: the seismic vibrations for oil companies to kind of get

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Speaker 1: an idea of where the best oil deposits were, whether

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Speaker 1: or not that were any oil deposits, that kind of thing,

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Speaker 1: because it's it's called auto correlation. Basically, once this sound

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Speaker 1: goes into the ground, the reflections based on the material

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Speaker 1: uh that is made up and you know, in the

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Speaker 1: area that they're using the the sound give them an

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Speaker 1: idea of what the composition of of the earth is

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Speaker 1: underneath their feet essentially and can tell them where pockets

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Speaker 1: of oil are stored, so it gives them a good

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Speaker 1: idea of where to to drill. And he uh Andy

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Speaker 1: Hildebrand made a lot of money, a whole lot of money,

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Speaker 1: retired at forty Yeah and clear. Really the next step

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Speaker 1: for anyone who creates that kind of software is finding

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Speaker 1: a way to get people to sing better. Well, the

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Speaker 1: way I heard it, a friend challenged him, said, okay, fine,

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Speaker 1: you're so smart, you're looking for something to do. Why

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Speaker 1: didn't you fix it so I can sing better? And

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Speaker 1: so he did. Yeah. So this is using a method

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Speaker 1: called digital signal processing. And the idea here is that

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Speaker 1: every sound that you hear is is really due to

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Speaker 1: vibrations everything. Yes, every sound is something vibrating against something else,

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Speaker 1: and then eventually it becomes air molecules vibrating against one another,

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Speaker 1: and then the vibrations hit your ear and uh, and

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Speaker 1: your brain manages to uh to translate this into sound

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Speaker 1: what we perceive as sound. So uh, the the notes

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Speaker 1: that we hear are vibrations at particular frequencies, and in general,

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Speaker 1: the higher the frequency, actually not in general, the higher

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Speaker 1: the frequency, the higher the sound, the pitch and the

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Speaker 1: sound right, so um, let's see if I can find

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Speaker 1: then the information I actually wrote down what the different

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Speaker 1: divisions were. I think four hundred and forty vibrations per

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Speaker 1: second is an A note. That is correct, So that's

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Speaker 1: your basic A. So you're basically is four vibrations per second.

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Speaker 1: And I'm I'm sitting here with a musician, so I

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Speaker 1: expect you to correct me whenever and I get things wrong. Well,

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Speaker 1: I had a tuning fork, but I had forgotten we

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Speaker 1: were doing this today, so I left her to have them.

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Speaker 1: Oh that's a shame that would have been coming. Alright,

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Speaker 1: So four and forty isn't a and then you can

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Speaker 1: if you increase that the vibrations per second, you then

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Speaker 1: the notes go up. And uh so I actually, let's

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Speaker 1: say four vibrations per second would be a B note.

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Speaker 1: Five and eighty seven vibrations per second or thereabouts would

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Speaker 1: be a C note, which is not Shaving and haircut,

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Speaker 1: all right, So that's about these days. Never mind, I

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Speaker 1: can't tell I was about to out one of our

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Speaker 1: one of our coworkers who did recently spend more than

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Speaker 1: a hundred dollars on a haircut. But I will not

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Speaker 1: do that because this person will kill me anyway at

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Speaker 1: any rate. So, yes, the vibrations determine what the note is.

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Speaker 1: And so let's say that you're trying to sing an

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Speaker 1: a note. Now, if you're trying to sing an a note,

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Speaker 1: what's happening is your vocal cords are vibrating to generate

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Speaker 1: this and that's what's generating the sound. Right. So uh,

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Speaker 1: most of us are not capable of holding an a

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Speaker 1: note perfectly, um, for any extended time. I mean we're

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Speaker 1: gonna are are It's going to wander a little bit. Yes,

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Speaker 1: I I tend to Uh, I tend to sing a

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Speaker 1: little sharp, to be honest, Yeah, I tend. I tend

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Speaker 1: to sing in a different key, but at any rate,

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Speaker 1: so uh, or sometimes my wife prefers it if I

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Speaker 1: sing in a different state. Um. But the so if

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Speaker 1: you if you visual is each note with a line

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Speaker 1: going to the right. So let's say you know you

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Speaker 1: have a B C yeah, and you have the lines

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Speaker 1: to the right, uh, and you think of the person singing,

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Speaker 1: it tends to look kind of like a sign wave.

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Speaker 1: I mean, it usually tends to hover around the note,

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Speaker 1: unless the person is a terrible singer, in which case

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Speaker 1: it may not be anywhere close to the note they're

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Speaker 1: supposed to be singing generally, if you can never mind. Yeah,

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Speaker 1: I see, I see what you're see what I'm saying.

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Speaker 1: So let's say let's say I'm trying to sing an A,

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Speaker 1: but I have terrible pitch and I'm tone deaf, and

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Speaker 1: I'm actually singing what is closer to a B. Well,

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Speaker 1: I would say, I would argue even that someone who

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Speaker 1: is a really good singer is going to waiver in

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Speaker 1: pitch somewhat because the vibration of your vocal chords depends

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Speaker 1: a lot on how much air uh you're putting in,

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Speaker 1: and if you are running out of breath, yeah, it

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Speaker 1: tends to peter l your your attending. Yeah, the pitch

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Speaker 1: of your voice is going to change. So so, I mean,

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Speaker 1: even even the best singers are going to have this problem.

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Speaker 1: So what Hildebrand did was he decided to create some

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Speaker 1: software that could nudge this these these variations around a

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Speaker 1: note or sometimes you know, hitting the wrong note entirely

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Speaker 1: and put them where they're supposed to be, so kind

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Speaker 1: of smoothing out the peaks and valleys across the line

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Speaker 1: so to to make it a more a more consistent note,

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Speaker 1: or to even shift it up or down the scale

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Speaker 1: so that it hits the note it's supposed to be on. Now,

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Speaker 1: you can only do this a little bit within within

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Speaker 1: a couple of notes of where you're supposed to be

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Speaker 1: without its sounding artificial, right, And there's there's a lot

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Speaker 1: of other little factors in there, because the the auto

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Speaker 1: tune software gives you some control over how quickly the

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Speaker 1: pitch shifts up. But you can you can actually set

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Speaker 1: the range, uh the key that you're supposed to be

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Speaker 1: singing in, so it can it can. It has some

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Speaker 1: idea of what you're trying to do, so you can.

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Speaker 1: You can have an auto detect, like if if you

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Speaker 1: put on auto detect. Essentially, what the software does is

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Speaker 1: it assumes whatever note you're singing closest to is the

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Speaker 1: note you wanted to sing. Yes, So if you are

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Speaker 1: at least a decent singer, the auto function of auto

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Speaker 1: tune should get you pretty much where you wanted to

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Speaker 1: be in the first place, even if you were, you know,

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Speaker 1: a little off. You can also do it manually, however,

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Speaker 1: so let's say that that someone has hit just you know,

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Speaker 1: just really misjudged it. They're singing the national anthem and

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Speaker 1: when they get to uh uh the Land, you know,

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Speaker 1: the Land of the Free, and they hit that high note,

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Speaker 1: it's just way off. Well, then you might need to

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Speaker 1: manually put it closer to the note it's supposed to

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Speaker 1: be on. So it doesn't sound terrible, right, it doesn't

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Speaker 1: work so well live, well it can not the manual. No, no, live,

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Speaker 1: it's auto. But now that that isn't that. One of

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Speaker 1: the things that impressed me about the auto tune software

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Speaker 1: is that it can be used live. It could be

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Speaker 1: used in real time. Now granted that's when it's using

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Speaker 1: the automatic feature, not the manual functure. As you were

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Speaker 1: pointing out, you are correct. Otherwise you would have like

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Speaker 1: the highest paid sound engineer on the planet, like rapidly

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Speaker 1: switching the the pitch. So yeah, the software has this

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Speaker 1: very complex algorithm and it can it can. The cool

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Speaker 1: thing is it can it can adjust the pitch without

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Speaker 1: really affecting the tone of the voice. Now, this is

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Speaker 1: a lot different from the old way of changing the pitch,

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Speaker 1: which was just essentially playing it faster than you had before.

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Speaker 1: Are you're thinking like those three rodents of recent movie fame,

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Speaker 1: the Chipmunks. Yeah, alright, so we're going to give Liz

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Speaker 1: a little challenge here. We're going to we're going to

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Speaker 1: speak in our normal tone of voice, but we're going

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Speaker 1: to do so slowly so that Liz can speed it

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Speaker 1: up later from or of voluble statter speaking there anyway,

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Speaker 1: So by by speaking that up, Liz could could adjust

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Speaker 1: the pitch of our voices. But of course that means that,

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Speaker 1: you know, the whole tone sounds different and it's going

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Speaker 1: much faster than before. The neat thing about auto tune

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Speaker 1: is it doesn't adjust the speed of the voice. It

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Speaker 1: doesn't really affect the tone that much, unless again, you're

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Speaker 1: trying to push it much further up or down the

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Speaker 1: scale than where it originally started. Um, so it makes

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Speaker 1: it sound more natural. Now, this method has been in

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Speaker 1: use for years to just kind of tweak notes here

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Speaker 1: and there. It wasn't really used as kind of an

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Speaker 1: artistic thing until more recently. Yes, Actually, I I'll never

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Speaker 1: forget the first time I heard Shares Believe and I thought,

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Speaker 1: could anyone make a more annoying song than that? It

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Speaker 1: turns out yes, because I had not heard peanut butter

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Speaker 1: jelly time at that point. Peanut butter, yes. But uh,

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Speaker 1: but but in in the case with Share, she actually

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Speaker 1: took a feature of the auto tune software that was

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Speaker 1: never really intended to be used as as a performance

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Speaker 1: thing and turned it into a performance And you remember

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Speaker 1: when you were talking about how you adjust the speed

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Speaker 1: when the pitch changes, she essentially switched that to zero. Yes,

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Speaker 1: there's a there's a range that the software has between

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Speaker 1: zero and four hundred milliseconds, which is four tenths of

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Speaker 1: a second. Especially and uh, you have the option that

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Speaker 1: that's how long it takes for the pitch to shift

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Speaker 1: to what it thinks it's supposed to be right, And

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Speaker 1: and you may think, well, why would you want to

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Speaker 1: set that at four hundred? It makes it create a

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Speaker 1: more natural sound, because we you know, we don't tend

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Speaker 1: to sing notes perfect notes one right after the other,

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Speaker 1: especially jumping around a lot, unless you're talking about like

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Speaker 1: uh an Aria by Mozart and which case, I mean,

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Speaker 1: those are amazing, but most of us can't sing those.

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Speaker 1: Most of us, when we sing, we tend to slide

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Speaker 1: a little bit from one note to the next. And

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Speaker 1: if you take that that sliding out, it suddenly sounds

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Speaker 1: robotic and unnatural. But if your share and you're creating

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Speaker 1: this song. Believe that turns out to be the effect

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Speaker 1: you wanted to go for in the first place. So

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Speaker 1: you turned this thing that would normally be considered a

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Speaker 1: total a total mistake. You wouldn't want it to be

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Speaker 1: in there because you wouldn't want people to detect that

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Speaker 1: you had electronically altered your voice and turn it into

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Speaker 1: a performance. And it ended up working out very well

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Speaker 1: for her and got a lot of radio play and

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Speaker 1: slowly made me go crazy. Yeah, and of course then

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Speaker 1: you had I wondered what did that now? Yeah, that

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Speaker 1: was definitely a contributing factor. I can't lay all the

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Speaker 1: blame and shares feet. No, but it's uh, but that

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Speaker 1: explains why her voice sounds like it is snapping from

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Speaker 1: pitch to pitch without any kind of any kind of

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Speaker 1: glas Sando without any kind of you know, break glas

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Speaker 1: Sando music theory coming in here, so you know. On

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Speaker 1: on the other hand, there are artists who have essentially

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Speaker 1: made their living off of this. That would be you

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Speaker 1: know Pain Yes, who not only made several songs featuring

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Speaker 1: auto tune, but also the was the name behind the

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Speaker 1: iPhone feature that allows people to download the the app

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Speaker 1: The t paining app and and do live auto tuning

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Speaker 1: of their own voices, and he's unapologetic about about using

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Speaker 1: the software. Um, it's a performance, it's it's like any

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Speaker 1: other tool. Now. Now, some people even argue that anyone

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Speaker 1: using auto tune is cheating. Yeah, and that's that's what

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Speaker 1: some of the detractors say. But what he's doing with

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Speaker 1: it is on purpose, So it's you know, he's like, no, no,

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Speaker 1: this is my Yeah, I intended to do that. That

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Speaker 1: was the whole purpose of it, which I think that's

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Speaker 1: totally legitimate. I mean, it's just like taking a musical

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Speaker 1: instrument and playing in a way different than than the

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Speaker 1: way it was originally intended. That doesn't make it invalid.

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Speaker 1: It just means that you're innovative. Right, So the same

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Speaker 1: thing I just like share, I think was truly innovative

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Speaker 1: with that the way she she used auto tune. I may,

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Speaker 1: I may hate the song, but I can't argue with

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Speaker 1: the fact that it was innovative. I could have done without.

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Speaker 1: The seven fifty or so songs that I've heard since

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Speaker 1: then that are all using auto tune in that way

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Speaker 1: is no longer innovative. It's just a different way of

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Speaker 1: performing and they think of it as cheating. Now, granted,

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Speaker 1: lots of artists have been using this, a lot of

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Speaker 1: producers have been using as It's very possible that some

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Speaker 1: artists don't even know it was used on their their

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Speaker 1: particular records. Um, they probably do, because suddenly they aren't

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Speaker 1: having to do a lot of uh retakes and overdubs.

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Speaker 1: They're doing, you know, one or two takes per song

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Speaker 1: and heading for home. And that's down on the amount

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Speaker 1: of studio time that you need to spend, and you

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Speaker 1: know that's expensive. And hilder Brand points out that auto

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Speaker 1: tune does not make you a singer. Um. Auto tune

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Speaker 1: can help correct pitch, it can help you be you

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Speaker 1: can help you sing on pitch, and it will help

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Speaker 1: help you sing the right notes. But if your vocal

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Speaker 1: tone is not a good pleasing vocal tone, such as mine,

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Speaker 1: what my my singing tone is pretty terrible. Um, even

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Speaker 1: with auto tune, my singing is not gonna be great.

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Speaker 1: It's just gonna be the right notes, which granted, is

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Speaker 1: an improvement, but it's not gonna be something you're gonna think, Hey,

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Speaker 1: this is who I want to be listening to on

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Speaker 1: that five hour flight that I got coming up. Can

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Speaker 1: you can you auto tune karaoke? You could, you could

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Speaker 1: do and yeah, why not? You could have a microphone

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Speaker 1: built in with the auto tune and you could you

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Speaker 1: could have it automatically auto tune your your your vocals.

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Speaker 1: That's got cheating, I mean considered cheating. Yeah, well I

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Speaker 1: don't considering some of the people I've heard sing karaoke,

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Speaker 1: I be willing to entertain some cheating. And I know

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Speaker 1: the people who have heard me sing karaoke would entertain

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Speaker 1: some eating. Um. And we were actually thinking at one

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Speaker 1: point of having Liz auto tune some of some of

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Speaker 1: us bits of bits of what we were doing here. Oh,

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Speaker 1: you know, it's funny. We I'm surprised we haven't mentioned

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Speaker 1: other phenomena that have used auto tune, not just in

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Speaker 1: the music industry, you mean, like auto tune the news. Yeah,

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Speaker 1: there's this great YouTube series where these guys have taken

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Speaker 1: news clips from you know, any like Usually it's about

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Speaker 1: a week long period, but they take they take big

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Speaker 1: news clips and then they put it through auto tune

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Speaker 1: and turned them into songs and they cut the news

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Speaker 1: clips up so that it makes it more Yeah, yeah,

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Speaker 1: so that you get phrases and things, and sometimes they'll

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Speaker 1: have someone repeat something five or six times to make

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Speaker 1: it more like a song. They are absolutely hysterical videos.

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Speaker 1: There's also I've seen the auto tuning of the baby crying.

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Speaker 1: The baby's crying, but they put it through auto tune.

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Speaker 1: And here's the thing is that auto tune it is

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Speaker 1: a software suite that you can purchase. But um but

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Speaker 1: you can download a demo version and try it out

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Speaker 1: for a while on your computer. It's only gonna last

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Speaker 1: for a trial period, and then you are going to

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Speaker 1: be prompted to purchase it. And then of course there's

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Speaker 1: the app on the iPhone that you can get. Um,

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Speaker 1: so you can. That's that's considerably cheaper at yeah, yeah,

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Speaker 1: so but you can. You can play around with this

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Speaker 1: stuff and uh and and kind of see, you know,

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Speaker 1: how how it is that the big names are able

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Speaker 1: to get that really great produced sound on their tracks.

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Speaker 1: I would never have expected this to come from a

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Speaker 1: geologic technology. No. I I had real money on astrophysics,

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Speaker 1: but not geophysics. Maybe quantum physics. Maybe you know that's

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Speaker 1: that's funny because technically it's called pitch quantization. Yeah, I

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Speaker 1: I read through kind of now now, when when asked

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Speaker 1: exactly what sort of things go into his uh calculations,

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Speaker 1: Hildebrand said, and this is a direct quote out multiplications, additions,

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Speaker 1: and a few divisions, but designed by an extensive theoretical

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Speaker 1: foundation and digital signal processing, encompassing the physical principles of

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Speaker 1: sound production, physics of hearing, disciplines of modeling, filtering, linear

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Speaker 1: systems theory, estimation theory, numerical analysis, calculus, music theory, and

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Speaker 1: other disciplines pretty much including the pretty much, yeah, pretty much,

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Speaker 1: it's right there, it's right there. Yeah. No, that was

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Speaker 1: a direct quote that wasn't a frequently asked questions section.

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Speaker 1: He he actually seems to be a sort of a

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Speaker 1: humorous kind of guy. He did, well, I mean you

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Speaker 1: have to after after and he specifically stated that he

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Speaker 1: had never intended anyone to use it in the way

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Speaker 1: that t Pain and Share have used it and numerous

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Speaker 1: other people at this point, however, it was always meant

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Speaker 1: to be kind of a behind the scenes, you no

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Speaker 1: way of just just tweaking a track, rather than an outright, uh,

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Speaker 1: you know, the cat is out of the bag kind

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Speaker 1: of thing. I do think. Uh. This this has led

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Speaker 1: to the rise of music that is maybe just a

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Speaker 1: little bit too perfect for some people. So speaking of

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Speaker 1: the people who are remember how we were saying some

375
00:21:07,080 --> 00:21:10,040
Speaker 1: people really like low fi, some people really like hi fi. Right,

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Speaker 1: I've had people say that song is just too perfect

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Speaker 1: for me. Well, they could always listen to me sing

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Speaker 1: and they'll be cured of that right away. Amen. Um, so,

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Speaker 1: do you have anything else to add for our discussion

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00:21:26,840 --> 00:21:30,399
Speaker 1: on auto tuning? And not really? Um, it's just kind

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00:21:30,440 --> 00:21:32,600
Speaker 1: of uh, it's kind of funny. It's pretty much baked

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00:21:32,640 --> 00:21:35,359
Speaker 1: into most studios at this point that that they have

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00:21:35,480 --> 00:21:39,680
Speaker 1: it there, but um, you know, it's it's pretty ubiquitous

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Speaker 1: at this point, right. So, Um, here's where I'm gonna

385
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Speaker 1: throw it out there, and Liz, I'm gonna apologize to

386
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Speaker 1: you because you're gonna have to hear this unfiltered. In fact,

387
00:21:50,280 --> 00:21:52,520
Speaker 1: if you want to play it unfiltered once and auto

388
00:21:52,600 --> 00:21:55,840
Speaker 1: tuned once just to let people know how horribly I sing,

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Speaker 1: go for it, all right, guys. This song, by the way,

390
00:21:59,200 --> 00:22:01,640
Speaker 1: has been in the public domain for about five years,

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Speaker 1: so I don't want to hear anything from you. Guys.

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Speaker 1: You know you should have warned me. I would you

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Speaker 1: like to step out of the room. Um, alas, my love,

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00:22:12,920 --> 00:22:19,439
Speaker 1: you do me wrong to cast me off discourteously. Alas,

395
00:22:19,880 --> 00:22:25,840
Speaker 1: my love, you do me wrong to cast me off discourteously.

396
00:22:26,560 --> 00:22:29,400
Speaker 1: There we go. That's all I'm gonna do. I don't

397
00:22:29,440 --> 00:22:31,960
Speaker 1: want to hit you too hard. That's bad enough right there.

398
00:22:32,520 --> 00:22:37,840
Speaker 1: I could have done no never mind best copyright. So yeah,

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Speaker 1: that was written, by the way, by Henry the Eighth,

400
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Speaker 1: by the grace of God, King of England and France,

401
00:22:43,400 --> 00:22:48,960
Speaker 1: Lord defender of the Faith and Lord of all Ireland. Um. Deceased,

402
00:22:49,359 --> 00:22:54,800
Speaker 1: Yes for quite some time. So anyway, hopefully it's better

403
00:22:54,880 --> 00:22:57,159
Speaker 1: than singing I'm Henry the Eighth. I am right. Hopefully

404
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Speaker 1: Liz will be able to uh to auto tune that,

405
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Speaker 1: and if not, hopefully she'll be able to cut that out. Alright,

406
00:23:02,720 --> 00:23:04,880
Speaker 1: So that wraps this up on auto tune. I hope

407
00:23:04,920 --> 00:23:09,680
Speaker 1: that answers your question, Jane. Uh. And now that leads

408
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Speaker 1: us to our second round of listener mail. Let's listen

409
00:23:16,800 --> 00:23:19,480
Speaker 1: mail comes from Nathan, and Nathan says, Hi, guys, I

410
00:23:19,640 --> 00:23:22,399
Speaker 1: was just wondering if you or anyone at your organization

411
00:23:22,560 --> 00:23:25,160
Speaker 1: listens back to your podcast and can hear what sounds

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Speaker 1: to me like an air conditioning hum in the background.

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Speaker 1: Would it be possible to edit that out? Look forward

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00:23:29,760 --> 00:23:33,160
Speaker 1: to hearing back from you. Cheers Nathan, Nathan, that could

415
00:23:33,280 --> 00:23:35,480
Speaker 1: be one of many things that could be a fan.

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00:23:36,160 --> 00:23:37,920
Speaker 1: It might be the fan, and might it might even

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00:23:37,960 --> 00:23:40,800
Speaker 1: be the fan of my laptop, because you know, you know,

418
00:23:40,960 --> 00:23:43,240
Speaker 1: I need that so that my computer does not overheat

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Speaker 1: and shut down. And there's a refrigerator in the hallway.

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00:23:45,720 --> 00:23:49,280
Speaker 1: There's yeah, there is an air conditioning system. And here's

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00:23:49,320 --> 00:23:52,800
Speaker 1: the thing. We're dying in here. It is so hot

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00:23:52,880 --> 00:23:55,760
Speaker 1: in here. Please don't take our air conditioning away. And

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Speaker 1: if I asked Liz to try and edit that out,

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00:23:58,000 --> 00:24:01,440
Speaker 1: I think that would drive her crazy. So unfortunately, I

425
00:24:01,520 --> 00:24:03,800
Speaker 1: think we're kind of stuck with what we have until

426
00:24:03,880 --> 00:24:06,560
Speaker 1: but you know, we're we're renovating our our studio space.

427
00:24:06,680 --> 00:24:09,280
Speaker 1: Who knows what's gonna sound like when we're done. You know,

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Speaker 1: it only homes because it doesn't know the words. Very good, Chris,

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Speaker 1: That is exactly right. So if you have any other questions,

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Speaker 1: comments you'd like to criticize Chris for his joke, you

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Speaker 1: can write us tech stuff at how stuff works dot com.

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Speaker 1: Check out our blogs blogs dot how Stuff works dot com.

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Speaker 1: Check out the website itself, how stuff works dot com,

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Speaker 1: because it's awesome. It is, it's so yeah, it's a

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Speaker 1: great website, it's great resource. Um. Remember, we are no

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Speaker 1: longer doing tech stuff live while we are renovating our

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Speaker 1: studio space. So that's gonna last for probably about six weeks,

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Speaker 1: and then we're gonna think about what we can do

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Speaker 1: with that video series when we get back, because we're

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Speaker 1: gonna have a little bit more flexibility than we did before.

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Speaker 1: So I feeling of you have any cool ideas of

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Speaker 1: what you would like to see in a video series

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Speaker 1: from tech stuff. Um, Like, for instance, you would say,

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Speaker 1: I would love for the video series of tech stuff

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Speaker 1: to have the stuff you should know guys in it.

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Speaker 1: Right a tech stuff at how stuff works dot com

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Speaker 1: and Chris and I will talk to you again really soon.

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Speaker 1: For moral thiss and thousands of other topics, visit how

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Speaker 1: stuff works dot com and be sure to check out

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Speaker 1: the new tech stuff blog now on the how Stuff

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Speaker 1: Works homepage, brought to you by the reinvented two thousand

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Speaker 1: twelve camera. It's ready, are you