Auto-Tune’s use has exploded since its introduction in 1998. Some use it in the more overt “Cher” style, some opt for using it as a kind of mask to a voice, and others still simply use it to create pitch-perfect melodies. However, the general consensus has pulled a complete 180 from “Auto-Tune ruins art” to the idea that it can create art. Granted, not 100% of audiences are on board, as, “Some critics have argued that Auto-Tune threatens to homogenize the vocal idiosyncrasies that define many of our most beloved singers. Bob Dylan and Billie Holiday were interesting precisely because they weren't conventionally "good" singers” (Kramer). However, in recent times, those opinions have transformed from the majority into the minority. Reynolds writes, “Wielding Auto-Tune like this century’s equivalent of the electric guitar, Future has explicitly differentiated his way of working from T-Pain’s, saying that, ‘I used it to rap because it makes my voice sound grittier’” (Reynolds). Reynolds also argues Auto-Tune’s growing acceptance stating that, “Reverb, EQ, phasing, stacking vocals, comping the best takes to create a superhuman pseudo-event that never happened as a real-time performance—all of these increasingly standard studio techniques tampered with the integrity of what reached the listener’s ears” (Reynolds). Artists who had previously bashed Auto-Tune found themselves succumbing to its “evil”. Neko Case said in an interview, “I'm not a perfect note hitter either but I'm not going to cover it up with auto tune … [A studio guy told me], ‘You and Nelly Furtado are the only two people who've never used it in here.’ Even though I'm not into Nelly Furtado, it kind of made me respect her. It's cool that she has some integrity” (Dombal). However, by 2013 even Case used the software herself on “Big Hoops (Bigger The Better)”, proving that even Auto-Tune’s sharpest critics can come around eventually. Even Paul McCartney, a musician who came up long before the advent of this kind of technology, used Auto-Tune on a recent unspecified song, and did not release it due to fear of backlash. However, he believes that, “You know what? If we'd had this in the Beatles, we'd have been—John, particularly—would be so all over it. All his freaking records would be…” (Heath). He then adds, “Come on, man… You can't be so straitlaced to not expose yourself to experiences in life” (Heath). Auto-Tune has been continuously responsible for new, innovative ways to create music, but only recently has its reputation finally made its way out of the mud.