7 years after the launch of “Autotion” was enough to achieve global spread, as well as the emergence of strong opposition from music critics, which amounted to describing it as a “evil invention”.
In 1990, American engineer Andy Heldbrandt launched a computer program to improve the vocal transcription of large orchestral instruments, so that filmmakers could use it instead of crowding together a large number of instruments and full orchestral players while recording movie music.
Heldbrandt, several years before the launch of that program, was a successful expert in the field of audio signal processing for oil exploration operations in the Earth’s layers. Enhanced Auto-Tune called it “Autotion” in 1997.
The world after “Aution” is not the same as before, as musicians and producers can correct the sounds of their music without the need to collect musicians for re-recording, instead of wasting the time of the music producer and musicians in recording several clips over several days to choose the best of them and synthesize between each other on the recording program Correcting errors in a shorter time is now possible. All the musician has to do is record a clip, then choose the required scale, and speed, so that the program corrects the outliers to the nearest correct tone.
An open field for testing
In the beginning, the music producers dealt with the new software carefully, they only corrected the wrong tones, it was difficult to notice its effect on the songs, given that it was not widespread at the time, until the “autotion” began to interfere little by little in the production of entire music albums, and the tendency of the sharp robotic voice appeared. in songs.
Non-studying amateurs also found it an opportunity to play and experiment with music, to begin a global wave of amateur experimenters, in America, Europe, Africa, north and central, even India and Korea.
The automated capabilities of this software – which turned into a stand-alone device – gave immense popularity around the world, in musical colors, and inaugurated new music, as festivals in Egypt can be considered an authentic daughter of Autotion, as well as “dirt” in America and Egypt, and during its initial rise, festivals received attention. A clear critic and journalist, which helped her spread and reach horizons beyond Egypt’s borders.
New music left by automation
7 years after the launch of “Autotion” was enough to achieve global spread, as well as the emergence of strong opposition from music critics, which reached the point of describing it as a “evil invention”, as described by Neil McCormick in his article published in the newspaper “The Daily Telegraph”, as he blamed this invention for the absence of pure sounds for The recordings we will hear in the future.
We are now in the future that McCormick tried to predict. Autotion, processed sounds and corrected tones proliferated, after automation reduced the effort to produce music and allowed non-scholars to practice it and correct its cacophony.
At the time this article was published in the British Gazette, Automation was groping its way in Egypt with its updates and additions, when the young Amr Haha, known – at the time – as Dr. Ain Shams, used it at the beginning of the millennium to correct the dissonant tones at popular weddings and adjust the voices of their singers, so that the audio recordings that will be known as festivals appear, accompanied by the same critical concerns at the beginning, But, as a new whole, it imposed itself, floundered, failed, succeeded, and established its own world.
In the future that McCormick feared, we could re-evaluate experiments, either with a pessimistic view of the music critic’s view that processed sounds effortlessly crowded out pure natural sounds in their field, or with a more optimistic view that this new tool allowed an entire generation that did not have the chance to study music – as a luxury – To come out with his music and words, and to express them loudly and without the need for study, which gave them a voice and left them in front of the democratization of public taste, and in front of the ambition of a mass culture musician to develop their skills.
Haha, who started his career as a computer maintenance specialist in an Internet café, and expertly plays with several sound engineering and processing programs, now possesses the skill of distributing and producing new music, and owns two recording studios, with high-quality microphones and the latest audio software versions, a mature musical ear, and a professional career path. His two companions, Sadat and Fifty, also matured at the level of singing and production.
A computer in every home
In 2004, the campaigns of “a computer in every home” – launched by the Egyptian government – helped some of the middle-class people own primitive devices for home use, and allow their owners to access the Internet, as well as overlook the small, informal Internet networks established and adopted by the youth of each neighborhood freelance project, At that time, YouTube had not yet turned to documenting subscribers’ accounts or preserving the intellectual property rights of artists, and the idea of official channels for artists had not yet appeared.
The Internet was a vast space that allowed experimentation, transfer and quotation, as well as freedom of expression by any means, through blogs, discussions through forums, or even publishing experimental videos and music, or learning, as the son of Ain Shams neighborhood (east of Cairo) continued to experiment with sound processing programs and their keys until he created ringtones Mobile phone ringtones are suitable for the middle of the first decade of the current millennium, then he developed them into oriental musical tones corrected with audio software that can be included within festivals that began to spread within weddings with its tones and corrections to the voices of its performers.
Within a few years, Haha’s name turned into a trusted brand in the world of festival music, rivaled only by the most famous city of peace distributor “Vigo”, especially after a conflict arose between them over the lead of festivals and cooperation with its performers, each with its own fingerprint and the automated voice that announces the signature of each of them vocal at the beginning of the festival, and the exchange of Accusations of theft of tones, until the conflict took a chauvinistic form between the Ain Shams neighborhood and the city of peace, which contributed to the development of each of them.
After the brightness of festivals and the relatively escalation of their masses, the nature of popular weddings and their paragraphs changed. Some began to abandon the usual paragraphs prevalent in popular weddings, in favor of the festival’s least expensive and most popular singer, who can raise the enthusiasm of the audience and the guests of joy and greet them through the microphone.
But the fixed paragraph that has not changed is the men’s dance. Teams of young men and teenagers are professional in rhythmic dance or dance with weapons “formation” and they wear uniforms and practice these dances to show them in front of the wedding audience or the solo dancer, and among its stars in the city of peace “Sadat” was a slender young man. In short, he can practice and master this dance and even compete with other dancers on the dance floor. He can also hold the microphone to act as the “Nabshi”, the organizer of the joy, distributing greetings to the adults and families in attendance. And of course, the response to the main singer “Fifty” in this case, who forms a duet with him that is necessary to conduct a dialogue, to sing and respond.
After a while, “Sadat” will start experimenting and singing and will write his first song, “Sahoubia Jet Bendama.” The song spreads like a virus, to fill the audio space of all microbus, tuk-tuks, weddings, and festivals, with its usual theme of “treachery of companions”.
The treachery of the companions is more important than a beautiful voice
With this repeated topic, which has proven to be an eternal success among the audience of the popular song from the beginning of the money until the nights of luck, about the treachery of the companions and other topics about pride, self-esteem and betrayal.
Festivals had the opportunity to achieve spread among the audience of the popular song, and the stage of developing its lyrics began to bear a coherent topic instead of collapsing ideas, greetings and peaces, as well as developing its tones and distributions, which became more oriental and less cacophonous.
Over the course of 5 years, it was able, with easy-to-access tools such as sound correction programs, cheap microphones and display stands that are not subject to major production companies, to expand its mass base, and give the opportunity to a larger segment of practitioners of this new color, and duets appeared other than Sadat and Fifty such as: Oka and Ortega, Vigo and Haha , and even musical groups and bands such as: Dakhlalawiya, the “Sbeek Labbek” group, whose teenagers released their poor voices, the “There is no Sahib accompanying” festival on the same topic, the content of success “Treachery of the Sahab”, which achieved more than 133 million views on YouTube, and at one point it became a popular anthem. It is produced by the sons of poor neighborhoods to impose their presence on all classes, until it achieved its success and became a profitable horse and a guaranteed investment, so it was subjected to production companies and their capital, and their channels and advertisements.