However, from around this point and onward, Auto-Tune hate was on the decline, likely because of the rapid influx of songs utilizing it. Artists from the 2010’s onward began to find ways to use Auto-Tune as a sort of layer over their voices, as a mask of some sort to seamlessly integrate it into the song at hand. Beyonce’s “7/11” used the software to help her voice better fit into the electronic sound of drum machines and an overall mechanical feel to the song, more legitimized by the fact that her ability to sing was previously proven (Friedman). In “Put That Away And Talk To Me”, James Blake uses a heavy amount of Auto-Tune to transform his delivery while capturing a similar emotion, emulating “…a heartbroken cyborg” (Friedman). Chance The Rapper also uses Auto-Tune to fit his voice into a robotic-sounding song, similar to Beyoncé, on “Smoke Break”. Frank Ocean’s use of the software on Chanel is demonstrably stylistic, as early in the song he sings choruses by himself, but later on warbles through the lyric “I see both sides like Chanel” with his voice filtered as an artistic choice for that part of the song. Even T-Pain proved his ability to sing traditionally in a Tiny Desk concert with NPR, proving that Auto-Tune did not create stars out of those who lacked talent (NPR Music). As time went on and more artists used Auto-Tune in clearly artistic ways that make sense in their given contexts, the old cries of “it’s dishonest” and “it’s a crutch” seemed to fall by the wayside.