Coincidentally, this is the first track the band ever uses vocals on. They showcase this in the opening title track, a twenty-two minute saga of synth use, as a staple in early synth work. Kraftwerk is groundbreaking in their own right and detailed the immense possibilities that synthesizers, and vocoders, had to offer. One of the keystones to early vocoder work is Kraftwerk’s 1974 album AutoBahn. Roboto”, Phil Collins’ in “In the Air Tonight”, Queen’s “Radio Ga Ga”, these hits were widely popular and shows the swift and insurmountable impact the vocoder had once it became mainstream.
The invention, along with the advent of analog synthesizers, was immediately popular in the seventies and eighties. Essentially, one was able to use their own voice as a tangible instrument. Through more development and fine tuning, the vocoder would basically receive a vocalist’s voice through a mic, then would be processed through the keys on a synthesizer. It wasn’t until 1968 that Moog developed the first musical vocoder. Moog began by creating theremins, an electronic instrument that is played without actual touch, then slowly ventured into the world of synthesizers. Moog’s innovative process to electronic music was paramount to the development of realistically all facets of electronic music today. Around this time, electronic music innovator and founder of Moog Music, Robert Moog, began to make headlines as well. In the 50’s, a German scientist, Werner Meyer-Eppler, wrote a thesis on voice synthesis and began looking into electronic music as a whole. Now the history of vocoders use in music is extensive and difficult to tackle outright. Though arbitrary at the time, the end product was sufficient enough to be used during World War II. The tool was made to alter voice pitch and frequency and to be used as a speech coder for US war efforts. The first instances of voice alteration date back to 1928, when Homer Dudley, an electroacoustic engineer at Bell Labs, began to develop the vocoder. But before delving into its popularity, you have to consider its precursors. Auto-tune as well as other forms of voice alteration, have since become a mainstay in the music industry and has been found in even the more peculiar areas of the music community. It set the precedent for what early 2000’s music would become. It received a Grammy for Best Dance Recording and appropriately marks the turn of the century within the music world.
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Cher’s “Believe” was considered the first pop song to usher in the software of Auto-Tune. When Auto-tune was released back in 1998, it was surprisingly well-received.
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