![b flat minor in fl studio autotune b flat minor in fl studio autotune](https://cdn.shopify.com/s/files/1/0993/3800/files/GSnap.png)
Naturally, after leaving Landmark and the oil industry, Hildebrand decided to return to school to study composition more intensively. His undergraduate engineering degree had been funded by music scholarships and teaching flute lessons. “And I decided to get back into music.”Īn engineer by trade, Hildebrand had always been a musician at heart.Īs a child, he was something of a classical flute virtuoso and, by 16, he was a “card-carrying studio musician” who played professionally. “I retired wealthy forever (not really, my ex-wife later took care of that),” jokes Hildebrand. Before retiring in 1989, Hildebrand took the company through an IPO and a listing on NASDAQ six years later, it was bought out by Halliburton for a reported $525 million. With Hildebrand as its CTO, Landmark pioneered a workstation - an integrated software/hardware system - that could process and interpret thousands of lines of data, and create 3D seismic maps. The techniques engineers used to map the Earth’s subsurface resulted in two-dimensional maps that typically provided only one seismic line.
![b flat minor in fl studio autotune b flat minor in fl studio autotune](https://www.antarestech.com/wp-content/uploads/2020/02/Customizing-the-scale-in-Auto-Tune-Pro.png)
So, in 1979, Hildebrand left Exxon, secured financing from a few prominent venture capitalists (DLJ Financial Sevin Rosen), and, with a small team of partners, founded Landmark Graphics.Īt the time, the geophysical industry had limited data to work off of. “I realized that if I could save Exxon $500 million,” he recalls, “I could probably do something for myself and do pretty well.”Ī subsurface map of one geologic strata, color coded by elevation, created on the Landmark Graphics workstation (the white lines represent oil fields) courtesy of Andy Hildebrand Hildebrand was enlisted to fix the holdup - faulty seismic monitoring instrumentation - a task that required “a lot of high-end mathematics.” He succeeded. Three years into Hildebrand’s work, Exxon ran into a major dilemma: the company was nearing the end of its seven-year construction timeline on an Alaskan pipeline if they failed to get oil into the line in time, they’d lose their half-billion dollar tax write-off. It’s kind of like listening to a lightning bolt and trying to figure out what the shape of the clouds are. “I was working in an area of geophysics where you emit sounds on the surface of the Earth (or in the ocean), listen to reverberations that come up, and, from that information, try to figure out what the shape of the subsurface is. Upon graduating, he was plucked up by oil conglomerate Exxon, and tasked with using seismic data to pinpoint drill locations. In the course of his graduate studies, Hildebrand excelled in his applications of linear estimation theory and signal processing. Driven by a newfound passion for science, Hildebrand “decided to start working ass off” - an endeavor that culminated with an electrical engineering PhD from the University of Illinois in 1976. Toward the end of grade school, the young delinquent started pulling C’s in junior high, he made his first B as a high school senior, he was scraping together occasional A’s. “That way,” he says, “I could just stare out of the window.”Īfter failing the first grade, Hilbrebrand’s academic performance slowly began to improve. School was never an interest: when teachers grew weary of slapping him on the wrist with a ruler, they’d stick him in the back of the class, where he wouldn’t bother anybody. And in the course of it all, he’s raised pertinent questions about what constitutes “real” music.Īndy Hildebrand was, in his own words, “not a normal kid.”Ī self-proclaimed bookworm, he was constantly derailed by life’s grand mysteries, and had trouble sitting still for prolonged periods of time. He’s changed the economics of the recording industry. Hildebrand’s invention has taken him on a crazy journey: He’s given up a lucrative career in oil. For inventor Andy Hildebrand, Auto-Tune was an incredibly complex product - the result of years of rigorous study, statistical computation, and the creation of algorithms previously deemed to be impossible.
![b flat minor in fl studio autotune b flat minor in fl studio autotune](https://en.piano-fingering.org/wp-content/uploads/2015/01/B-flat-minor-7-oclock-on-the-circle-of-fifths.png)
When Time Magazine declared it “one of the 50 worst inventions of the 20th century”, few came to its defense.īut often lost in this narrative is the story of the invention itself, and the soft-spoken savant who pioneered it. Along the way, it has been pilloried as the poster child of modern music’s mechanization.
![b flat minor in fl studio autotune b flat minor in fl studio autotune](https://i.ytimg.com/vi/wtBkdK-MRHM/maxresdefault.jpg)
The pitch correction software, which automatically calibrates out-of-tune singing to perfection, has been used on nearly every chart-topping album for the past 20 years. Auto-Tune - one of modern history’s most reviled inventions - was an act of mathematical genius.