Is Billie Eilish Auto Tuned

Posted By admin On 04.01.21

How Billie Eilish Brought Lil Nas X to the End of the “Road”. Auto-Tuned hip-hop ditty called “Down.” Featuring a bridge rapped by the then-ubiquitous Lil Wayne, the song turned out to. Apr 30, 2018 Billie Eilish Licensed to YouTube by UMG (on behalf of Darkroom); ASCAP, UNIAO BRASILEIRA DE EDITORAS DE MUSICA - UBEM, UMPI, LatinAutor - UMPG, LatinAutor, AMRA, Kobalt Music Publishing, UMPG. R/billieeilish: A subreddit to discuss all things Billie Eilish. I’ve never really understood why people don’t like that song or the fact that they used auto tune in it.I mean, it’s supposed to sound ethereal and underwaterish, and they did such a good job reflecting that! Aug 12, 2019 song that i autotuned in this video: ️ 7 rings (Ariana Grande) ️ bad guy (Billie Eilish) ️ ME! (Taylor Swift & Brendon Urie) My Instagram: https://www.i. Billie Eilish. Never afraid to wring every drop of money out of a pop sensation, this is who the film industry is having sing the theme to the new James Bond film, No Time to Die.The media is billing this interestingly; the New York Times covered the song with glowing praise and a mention of Eilish being the youngest person to ever record a Bond theme.

R/billieeilish: A subreddit to discuss all things Billie Eilish. I’ve never really understood why people don’t like that song or the fact that they used auto tune in it.I mean, it’s supposed to sound ethereal and underwaterish, and they did such a good job reflecting that!

Finneas O'Connell: Producing When We All Fall Asleep, Where Do We Go?

Teenage sensation Billie Eilish has taken the music world by storm — with an album recorded in her brother's bedroom.

The excitement surrounding Billie Eilish's emergence as a global star has been palpable, because she sounds unlike anyone else. The music on her debut album, When We All Fall Asleep, Where Do We Go? goes against the grain of almost all current trends, apart from its big bass. The productions are sparse to a fault, the minimalist arrangements often decorated with Foley effects illustrating the dark lyrics. The biggest single from the album, 'Bad Guy' (analysed in SOS July 2019's Inside Track feature by mixer Rob Kinelski), features just one synth, a few bass tracks, and drums and vocals.

In a big departure from mainstream pop production, the album is almost devoid of high-frequency content and reverb, both in the arrangements and vocals. The latter alternate between the fairly natural and the heavily distorted, while the Auto‑Tune effect ubiquitous in modern urban music is audible here only on a couple of tracks. Equally striking are Billie Eilish's idiosyncratic, almost whispered vocal style and the distinctive visual imagery that surrounds her. To come up with something as unique, innovative and fully formed as When We All Fall Asleep, Where Do We Go? at the age of 17 seems miraculous. It turns out that hers is, in fact, only half the story.

Going Solo

The other half concerns Eilish's older brother Finneas O'Connell, who has produced all of Eilish's releases to date, co-written all songs with her, and in some cases written her songs alone. An example of the latter is the duo's breakthrough song 'Ocean Eyes', which they first uploaded to SoundCloud in 2015, when Eilish was still only 13 and Finneas 18. Apparently, their aim was purely to share the song with a dance teacher, so they had no great expectations. But the song went viral on social media, leading to major-label interest, and they signed to Darkroom/Interscope in 2016. Re-released in November of that year, 'Ocean Eyes' has since clocked up 115 million YouTube views.

Finneas and Eilish don't only work closely together in the studio, but also on stage — together with a drummer, the two are on a world tour for most of 2019. Given how inseparable the brother and sister are, one wonders why they opted to present Eilish as a solo artist, rather than operate as a duo or a band.

'It was a deliberate decision to present everything under Billie's name,' Finneas says, 'because I don't think duos do very well. I can't think of a duo that has become as successful as Billie in today's climate. There are many duos that I love, but the press doesn't really know what to do with a duo, and also, Billie is such an iconic-looking person, it felt right that it's her project. Of course, while we're not a duo, we also will never break up! If we were a duo, she would eventually put out a solo record, and then I'd put out a solo record. Instead we are both solo artists who make music together.

'She's very involved in all the music that I make, and I am obviously entirely involved in the music she makes. But her record is totally her creative vision. We make the music together, but she comes up with the album art and visual ideas, also for the live shows. For me that's one of many reasons why it is her music. When I produce her music, I make sure that she is her own artist, and does not sound like anyone else. When I work with another artist and produce them, it has to sound right for them, and I will never let them sound like Billie. I am not going to make my own music sound like hers either. I want her music to be totally unique, and I want to make sure my stuff is unique too. The only music that really is of value is music that does not sound like other music.'

Learning To Be Good

/dev-c-download-mac.html. The siblings grew up in Los Angeles, in a rather bohemian household. Home-schooled by their actor-musician parents, they were allowed to explore anything they took a fancy to, especially if it had an artistic dimension. One of the results was that Finneas enjoyed an acting career in his early to mid teens — he appeared in the TV series Glee, amongst other things — but decided that music was his true calling.

'My parents are super-artistic,' Finneas recalls. 'We grew up pretty much broke, and our parents never emphasised money. So we did not think that you had to have money to be happy. That was crazy important to us. Our parents are both like hobbyist musicians: they never made a living from it. My dad plays piano, and my mum plays piano too, as well as a little guitar. I had piano lessons for a couple of years, but didn't find that a lot of fun, and wanted to quit, until I asked my dad one day if he could teach me how to play a pop song on the piano. He did, and it turned out to be really easy, and I thought: 'This is fun, even though I'm not really good at it yet — but I could get really good at it.' It showed me that it can be fun to do something you're bad at, and learn how to become good at it.

'I also became pretty good at playing the guitar. At high school I was listening to bands like Green Day and the Strokes, and wanted to make music like that, because it was really exciting to me. While at high school I was in a guitar-orientated band called the Slightlys, but as I got older, I shifted into making music that really felt like my own music, that really reflects me. One important influence was a comment made by a mastering engineer who is a friend of my dad's, Dan Hersch at D2 mastering, who told me that if you like the way it sounds, then it is good. He said there was no right way to record drums, or vocals; if it sounds the way you want it sound, then that's the right way. I remember thinking: 'Oh my God, that is so crazy and true and cool.' I felt empowered by that advice.'

Light Work

To be able to make original music, Finneas nevertheless had to do his homework and learn the nuts and bolts of writing and production. 'The main thing I love is music,' elaborates Finneas. 'I love listening to music more than anything and I never get tired of listening to music. I also have always been obsessed with how music was made, and where people record it, and have always wanted to do that myself. I started doing that when I was 13, when I got Logic. I put a lot of focus and energy into learning how to record, because it was so fascinating to me. I was really bad at it for a long, long time, but I loved trying and learning. Again, when you are bad at something, the most important thing is to have the energy to become good at it.'

Almost the entire album was recorded in Finneas O'Connell's home studio, then (as shown in this photo) located in a bedroom at his parents' house.

In a small studio in his bedroom at his parents' house, Finneas worked on his own songs as well as his sister's, with both searching for their own musical voices. He's generous enough to point to some of the influences that went into their breakthrough song 'Ocean Eyes'. 'I don't want to take too much credit for the direction of that song, because it sounds a lot like other artists that Billie and I were listening to at the time, in particular a Norwegian artist called Aurora, as well as Marian Hill and Låpsey. Those artists were a heavy inspiration on 'Ocean Eyes'. As we made more music and got further into our careers, our inspirations became a little less clear, and our music became more unique.'

While Finneas' and Eilish's music became more and more minimalist over time, Finneas' studio setup was minimalist from day one. 'I moved to my own house early this year, and now work from a room there, but my setup is still pretty much the same as when we did 'Ocean Eyes'. I still use Logic, and at the time I had the Roland Quad Capture interface, a set of Yamaha HS5 monitors with a Yamaha HS8S subwoofer, and an Audio-Technica AT2020 microphone, which cost $80. Today I have the [UA] Apollo 8 interface and a Neumann TLM103, and Akai MPK249 and Nord Stage 3 controllers. I record everyone with the one microphone. Billie's vocals for 'Ocean Eyes' were recorded with the 2020, which sounds great. It's not quite as good as the Neumann, but I have never found a microphone that I like more than the 2020 that's less expensive than the Neumann. The 2020 is a really good starter microphone.'

Finneas' original studio setup, which also features a tiny Akai MPK Mini controller keyboard, is probably as basic and cheap as it gets, and demonstrates that there's no need to fork out on expensive equipment to make it big. 'I always encourage people not to think that they have to spend a lot of money on gear. The less stuff you have, the easier it is to make music. I also think it's really cool that people realise that Billie and I did the music, just the two of us, and that I am recording and producing all her stuff, because it may make them feel powerful enough to create their own music. I mean, to have that many writers and producers work on each song as is common these days, isn't it crazy? I just don't understand that, it just doesn't make any sense.'

The Right Stuff

Unsurprisingly, given the sentiments he expresses, Finneas is as minimalist in the box as he is out of it. 'All of the sounds on 'Ocean Eyes' were Logic stock sounds, which I tweaked a bit with EQ and layered. Now I have quite a few plug-ins, but honestly, I still feel like being very minimalist in my approach. The three plug-ins for sounds that I used the most on Billie's album are Spectrasonics Omnisphere, Keyscape and Trillion. They are very good plug-ins. Keyscape is amazing. I could not talk enough about how much I like that.

'For the rest, most of what I did on the album was play a lot of live acoustic guitar, live electric guitar and live bass. Quantising has had a really big impact on music, so I quantise pretty much all my drums and my bass synths, to make sure they are all locked in with each other. But I don't generally quantise synth or piano patches, and obviously when you are playing real instruments, it's much harder to quantise them and make them sound authentic. I'm a big fan of doing a lot of takes! I just play a part until it is right, even if it is a MIDI part. I think of that as my rehearsal. After playing a tricky part for hours, I am a better player!'

Dark Ages

Finneas explains that songs for the album came about in many different ways, often starting with his sister yelling from the other room, 'What's that? That sounds great!'

'That happened with the song 'Ilomilo', and also in several other cases. She hears a beat and feels it's right for her, and we then figure out lyrics and melodies together. Billie also is very involved in the sonics and the production. If it doesn't sound right to her, she lets me know. But songs come into being depending on how we are feeling on a given day, what we are inspired by. Sometimes I make a beat and she starts singing over it, sometimes I come in with an idea for a song with lyrics, sometimes she comes in and says, 'I want to write a song like this.' All those ways are fun.'

Contrary to expectations, Eilish and Finneas write lyrics together, and hence are both responsible for the often dark subject matter. 'There is no song we have written where we haven't both been involved in the lyrics. People assume she writes the vocal melody and lyrics, but that's not how it works in our case. I think the dark, minimalist thing is something we are both interested in. We are trying to make our favourite music, and we both have dark sensibilities when it comes to writing songs and lyrics. We have dark ideas and dark themes. Also, this is a dark time in the world, and there are lots of political issues in the United States especially, plus there are many planetary issues. We want to make sure we reflect the times we live in in our art. If we just made really positive and happy music, it would be very tone-deaf.'

Billie Eilish singing 'Yesterday' by The Beatles at the Oscars 2020 'In Memoriam'

Comment by Cecilia :/

Yall know how the audience is full of singers and actors, so they donâ€™t know when to clap cuz there always on the other side

Comment by User 241625109

This song is one to cry too!!! ðŸ¥ºðŸ˜¥

Comment by audreyadamec

SLAPSSS

Comment by Kaylee

@user540594369 this might be a good cover but no one's better than the Beatles

Comment by momo z

Her voice is so mesmorising

Comment by Ahmad Elwan

we need a raw version without the fucking stupid audiance

Comment by mynameissntfall

@user540594369 woah

Comment by headthrob

@mia-cella lmfao ME

Comment by Frederadon

This song is good, but the audience was so disrespectful :(

Comment by AnnaLisa Hall

Is sooo Beautiful

Comment by Kenna Farias

ðŸ’šðŸ–¤

Comment by Kenna Farias

Yes billie u are the best

Comment by Summer Lightwood

ðŸ¥ºðŸ¥ºðŸ¥ºðŸ¥ºðŸ¥ºðŸ¥ºðŸ¥º

Comment by billieeeeeeee______

bruh shes actually from heavenðŸ¥º

Comment by Hannah Messersmith

this song is so beautifulðŸ¥º

Comment by kalia

suddenly

Comment by Libna Castillo

agh

Comment by amber

ðŸ‘x8FðŸ‘x8F

Comment by amber

Clap for everyone or dont clap at allðŸ¤¦ðŸx8F»â€x8Dâ™€ï¸x8F

Comment by Jonathan Htx

@user540594369 reallyðŸ˜‚ðŸ˜‚

Comment by Viann

Fxxk those selective claps

Comment by Red_2

Pls watch the bideo to this, americans are so dumb! Selectevly clapping for some people and some not, how unmoralic and ignorrant.

Comment by sminchenbienchenðŸx90x9D

Fr shes only 18 and so talented like. She deserves it sm