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  1. How Business Writer started their web page design journey
  2. Elevator Pitch – How to craft a killer personal brand statement
  3. McDonald's Franchisees to New CEO: We Need to Get Back to Basics
  4. Stolen Child

The same goes for the singing we hear on records.

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Here, though, the emphasis is on real-time synergy between the rapper and the technician, who drags-and-drops plug-ins and effects as the recording process unfolds. This edge-of-chaos approach recalls the way that legendary dub producers of the s used to mix live, hunched over a mixing board and swathed in a cloud of weed smoke, moving sliders up or down and triggering reverb and other sound effects. In time, T-Pain would complain that s and Heartbreak received the critical praise that his debut album, Rappa Ternt Sanga , should have got four years earlier.

Every vocal in the track is Auto-Tuned to the max. In , the first big backlash against the omnipresence of Auto-Tune kicked off. Even T-Pain spoke up, trying to pull off a tricky juggling act—claiming pioneer status and preeminence in the field while simultaneously criticizing recent exponents for not knowing how to get the best results out of the technology. But I really studied this shit The backlash kept on coming.

This song is about raging against it and letting it go. Much of this anti-Auto-Tune sentiment presented the idea that the technology is a dehumanizing deception foisted upon the public. The combination of three levels of enhancement—surgery, makeup, and that old trick of bright lights that flatten the skin surface into a blank dazzle—means that her face and her voice seem to be made out of the same immaterial substance. This is exactly the same business that Auto-Tune and Melodyne are in. The Beatles enthusiastically adopted artificial double-tracking, a process invented by Abbey Road engineer Ken Townsend that thickened vocals by placing a doubled recording slightly out of sync with the identical original.

John Lennon also loved to alter the natural timbre of his voice by putting it through a variably rotating Leslie speaker and by slowing down the tape speed of his recorded singing. More often than not, singing involves the cultivation of technique to a point where you could almost conceive of styles as diverse as opera, scatting, yodeling, and Tuvan throat singing as tantamount to introjected technology. Which is true, but it also suggests that the voice is just like a violin or a Moog synthesizer: an apparatus for sound-generation. This combination of intimacy and artificiality is one of the things that makes singing compelling and more than a little eerie: The singer squeezes breath from the moist, abject depths of their physical interior to create sound-shapes that seem transcendent and immaterial.

How Business Writer started their web page design journey

Singing is self-overcoming, pushing against the limits of the body, forcing air into friction with the throat, tongue, and lips in exquisitely controlled and contrived ways. That applies as much to the history of pop, for all its down-to-earth aspirations and vernacular aura. The next logical step would then be to simply resort to external assistance. Another commonly heard accusation mounted against Auto-Tune is that it depersonalizes, eradicating the individuality and character of voices.

This is the very aspect of the voice—its carnal thickness—that differentiates one from another. But pitch-correction technology really messes with the voice as substance and signature. Given that this embodied quality, as opposed to the learned dramatic arts of singing expressively, is a big part of why one voice turns us on and another leaves us cold, surely anything that diminishes them is a reduction?

Maybe, and yet it is still possible to identify our favorite singers or rappers through the depersonalizing medium of pitch-correction—and to form a bond with new performers. In fact, you could argue that Auto-Tune, by becoming an industry standard, creates even more premium on the other elements that make up vocal appeal—phrasing, personality—as well as extra-musical aspects like image and biography.

Take the example of Kesha.

Elevator Pitch – How to craft a killer personal brand statement

She found ways to use Auto-Tune and other voice-production tricks to dramatize herself on the radio as a sort of human cartoon. Actually, it refocused what talent in pop is. Auto-Tune means that these attributes—less to do with training or technique than personality or presence—become even more important. Hitting the right notes has never been that important when it comes to having a hit. Related to the complaints about falseness and impersonality is the accusation that Auto-Tune, especially in its overtly robotic-sounding uses, lacks soul. But you could argue the absolute reverse: that the sound of Auto-Tune is hyper-soul, a melodrama of micro-engineered melisma.

The end result is like froyo: already clotted with artificial flavours, then covered in gaudy toppings. Finally, people have claimed that Auto-Tune irrevocably dates recordings, thereby eliminating their chances for timelessness. The counter-argument is to simply point at phases of dated-but-good scattered all through music history, where the hallmarks of period stylization and recording studio fads have an enduring appeal partly for their intrinsic attributes but also for their very fixed-in-time quality.

Fuzztone and wah-wah guitar effects, then, cease to be heard as what they originally were innovative, technological, artificial, futuristic and seem authentic and time-honored, the golden olden way of doing things. In the s, though, some figures from the alternative rock world were sharp enough to think past rockism and realize there was something fresh and timely about Auto-Tune—that here was a potential field of artistic action. Of course, electrons are funny things that follow the path of least resistance through power lines. While you can claim your building or your city operates on percent renewable energy, the reality is that once those green electrons leave the power plant and enter the wires, they travel to your wall plugs along with the brown ones already there.

Elevator Pitch Examples with Chris Westfall

Large-electric-load customers who buy only green energy will, as others join in, decrease the demand for fossil fuels and encourage the development of more clean energy sources. Over time, that party in the wires should get greener and greener, especially as renewable energy becomes cheaper and cheaper.

The idea to launch Cincinnati started in late , and the effort scored its first win in September when the 80,square-foot Contemporary Arts Center signed up. O'Leary told Chase and Bill Hoyt, the father-son team behind the company. Show Somebody Cares.

Don't have big revenue numbers right now? No problem, the sharks say. But you'd better have some evidence of market interest. And be objective—nobody wants to hear about the praise of your friends and family. Greiner says. Where's the Pot of Gold? Likewise, the sharks want to know "the potential for scalability" in a business, says Mr. They're rarely swayed by entrepreneurs who are satisfied with their current market and just want cash to make modest improvements.

Herjavec says. For instance, the sharks weren't interested in investing to open just one new retail outlet for Cinnaholic, a "cinnamon-roll experience," but Mr. Herjavic perked up when the founders mentioned their e-commerce business. Please, Please Know Your Numbers. O'Leary promises to "eviscerate" anybody who isn't prepared to answer tough questions about their business.

McDonald's Franchisees to New CEO: We Need to Get Back to Basics

When brothers Richard and Albert Amini couldn't answer basic questions about the potential market and revenue sources for their RoloDoc app—which is designed to securely connect doctors and patients—shark Mark Cuban called it the "worst pitch ever" on the air. Remember: Nothing makes better TV than a shark stalking a floundering entrepreneur. Albert Amini could not be reached for comment. Don't Beg. John is not interested in tales of woe. John says.

Stolen Child

And the sharks aren't interested in your "mission," just the mechanics and promise of the business. O'Leary snapped at the founders of Zoobean, a service that curates children's apps and books. Zoobean co-founder Jordan Lloyd Bookey declined to comment on Mr. O'Leary's statement, but added, "We don't think it is a mistake to mention a company's mission in a pitch. It's more that if you do have a mission, you also have to show your commitment to the bottom line.

Brass is a writer in Miami. He can be reached at reports wsj. All Rights Reserved. Films can be a great way to spark discussions with children about entrepreneurship—and maybe inspire them to want to start a company. Now the math may be different. Dow Jones, a News Corp company. News Corp is a network of leading companies in the worlds of diversified media, news, education, and information services.

Dow Jones. News Corp. Journal Reports: Technology. Should You Invest? Journal Reports: Leadership. By Kevin Brass. Related Video. Nine Movies That Can Teach Your Children About Business Films can be a great way to spark discussions with children about entrepreneurship—and maybe inspire them to want to start a company. Click to Read Story.