That is not to say that Auto-Tune disappeared during the early 2000’s, far from it. As Reynolds explains, “The expressed goal of Antares[, the company behind Auto-Tune,] at that time was to fix discrepancies of pitch in order to make songs more effectively expressive … that is exactly how Auto-Tune has worked in the preponderance of its usage: Some speculate that it features in 99 percent of today’s pop music” (Reynolds). This style of subtle, fine-tuned use of Auto-Tune would become increasingly common in the music industry, especially in pop music. It makes sense when considering that Andy Hildebrand’s original patent for “Pitch detection and intonation correction apparatus and method” details, “The detected pitch is then used as an input to a pitch corrector that converts the pitch of the input to an output with a desired pitch. The corrected musical note is then in tune with the pitch standard” (Hildebrand). The “Cher effect”, as it became commonly known, did manage to continue on as more producers got their hands on it. Kramer writes, “Rodney Jerkins, the prominent R&B and pop producer … dropped it into a remix of Jennifer Lopez's ‘If You Had My Love’ in 1999. Elsewhere, the sound began to infiltrate Jamaican dancehall around 2001, on songs like Tanto Metro and Devonte's ‘Give It To Her’.” (Kramer). However, it would not be until 2005 that Auto-Tune found the artist that would give it real fame and a new life.