Did you know that Cher’s record company wanted to remove the now-famous auto-tuning that producer Mark Taylor added to the vocals of her 1998 hit, “Believe“? Crazy, right? What do you think the world would be like nowadays if Warner Brothers had gotten their way? Would we have flying cars? Would Lehman Brothers still have collapsed? Would there be an independent Palestinian state? What would T-Pain be doing at this very moment? We’ll never know, because Cher responded to her label’s request by saying that the digital effect on her voice would be removed “over [her] dead body.” Well then. But with all due respect to “Believe,” it stands to reason that, much like a synthesized disease that squirms its way out of a top-secret government lab, setting in motion a zombie apocalypse that sweeps the entire planet, leaving nothing but horror, violence and destruction in its wake: auto-tune was bound to get out at some point. OK, maybe that’s a hyperbolic analogy. And in truth, I’m not campaigning against auto-tune at all. On the contrary, auto-tune is a fascinating phenomenon to think about, especially when you’re dealing with a group like Fun. and a singer like Nate Ruess.