LOS ANGELES (February 10, 2012)-- Launching today during GRAMMY® Week, RealSing.org is intended to give music fans and music makers an organic new standard of reference from which to measure vocal prowess, interpretation and mastery. RealSing.org and its RealSing Advisory Collective provide credible certification as to the authenticity of a singer’s vocal performance on audio recordings, broadcast media, tours and telecasts. As Real Sing certifies more and more talented vocalists, the listening public will be empowered with a rich counterpoint to a sea of homogenized, Auto-Tuned vocal sound-alikes. The RealSing Collective is comprised of singers, songwriters, producers and engineers, as well as a growing number of industry organizations who want to elevate real singers by officially certifying that their recordings do not use pitch correction or Auto Tune technology. The Collective includes Tommy Lipuma, multi-GRAMMY® winning Producer/Arranger; Ginny Mancini, Chairwoman of Society of Singers; Phil Ramone, 15-time GRAMMY® Winning Producer/Engineer/Technologist; Wendy Moten, Singer; Rudy Perez, Singer/Songwriter/Producer; Al Schmitt, 17-time GRAMMY® -winning engineer; Society of Singers; Aspen’s Wheeler Opera House; the Brooklyn Opera and more. Many recording artists who are in the headlines today also believe it is time to put the spotlight back on authentic vocal talent. Go to REALSING.ORG for quotes from artists, information on all Collective Members to date, and the step-by-step authentication process.
“Vocal pitch manipulating software strips away the nuances, tonal variations, distinctive twists, turns and artistic interpretation that define a true vocalist,” said Ron Roecker, RealSing spokesperson. “Had Auto-Tune been around when Patsy Cline was recording, we may never have known her rich, buttery slide or the unique stylings of Bob Dylan, Etta James, Michael Jackson, Tom Waits or Patti LaBelle. This year, legends Sir Paul McCartney, Bruce Springsteen, Barbra Streisand and Tony Bennett are all GRAMMY® Nominees … we should be thankful that Auto-tune wasn’t around as they built their vocal legacies. But who will our children cite as their generation’s vocal legends, especially if we don’t take action now?”
In 1990, Milli Vanilli performed their international smash “Girl You Know It’s True” during the worldwide telecast of the 32nd Annual GRAMMY® Awards. Their peers – singers, songwriters, engineers, producers and performers – honored the duo with that year’s Best New Artist GRAMMY®. Following the telecast and under great media, industry and fan scrutiny, The Recording Academy® revoked the duo's Best New Artist Award after they admitted to lip-syncing on the show and on the record. It was -- and remains-- the first time a GRAMMY® has ever been taken back from a winner in the 54-year history of the Awards. The Academy's response set a precedent that in order to win the highest honor in the industry, vocals that are recorded and submitted for GRAMMY consideration had to be – at the very least -- authentic. With any music awards show and any vocal category, it seems fair to say that in order to qualify for consideration the track has to be authentic. As we look to Sunday’s telecast, Real Sing hopes that standard is still being evaluated, monitored and authenticated, and we wish all of the nominees, presenters and performers the best of luck.
"At a time when live concerts, touring and televised performances are becoming more important than ever for bands and artists,” added Roecker. “The artists who deliver a pure live vocal performance with no lip-synching, pre-taping or pitch correction deserve to be acknowledged. As these artists are elevated, the fans become empowered; collectively we raise the bar back where it needs to be because no one wants “status quo” to be the highest bar that any of us cares to reach. That’s the real motivation behind RealSing.org.”
Many contend that pitch correction is akin to athletes taking steroids; even the most beloved athlete becomes viewed as little more than a cheat and fraud once we discover that he/she used performance enhancing substances. Singers are no different, and without a means to authenticate pure vocal performances, music fans are beginning to believe that everyone is either pitch -corrected or pitch-perfect. Neither is true.
Members of the RealSing Collective understand that Auto-Tune and pitch correction have their place in modern music. However, when a performer claims that his/her recordings are pure and free of technological manipulation when indeed they are not, then there needs to be a way for consumers to verify what is real and what is not.