In the June 9 issue of The New Yorker, Sasha Frere-Jones discusses the use of Auto-Tune to fix singer's pitch problems (and more). In the article, Andy Hildebrand, the inventor of Auto-Tune, was asked if Auto-Tune is evil. He says "Well, my wife wears makeup. Is that evil?" And Sasha then writes "Evil may be overstating the case, but makeup is an apt analogy: there is nothing natural about recorded music... recorded music is still a composite of sounds that may or may not have happened in real time."
You can here Sasha talk about and demonstrate Auto-Tune here:
Is the movement of producers and engineers to drop the sense of the real a problem? Would we have some declared masterpieces (e.g. Sgt. Pepper's) without dropping the "real" goal? Is it just an example of a sometimes useful approach that like anything can be abused?