I think we should be clear about language.
The validity of a person’s feelings is unassailable. Feelings just…are.
The validity to this hypothetical statement, “this is me singing musical tones (‘notes,’ i.e. Gb, F, C#, etc.)” is indeed negated if that person’s record (or live performance as the case may be) is not that.
Using the airbrush analogy again, that face and/or body seen in the photo does not look like that.
The photographer/magazine editor etc. chose to essentially say to their consumers/viewers/readers, “here is what (so-and-so) looks like” when…that is simply not what that person looks like.
Again, a person’s feelings regarding a vocal, with-or-without the use of digital pitch correction software, is unassailable.
They may find it unpleasant, wonderful, or they may not really care either way.
I’ll now describe two different things:
“Signal processing for the purpose of recording the human voice singing a melody,” and,
“actual human-sourced tone ‘correction’ via digital software at the recording stage while processing the signal for the purpose of recording the ‘human’ voice singing a melody.”
Two different things.
Of course “listening to a person singing in your living room sans microphone” and “listening to a vocal recording,” or even “listening to live vocals at a show” are not the same things.
However there is also a clear difference between these two things:
- vocal—> mic—> signal—> mix—> master—> listen,
and,
- vocal—> mic—> signal—> application of pitch correction software to the human-produced tones themselves—> master—> listen
Outside of the intentional use of such software for dramatic alteration to the vocal (Cher’s ‘Believe’ in ‘98 & seemingly some 85% of hip-hop records the last 15-odd years), digital pitch “correction” software is not an effect like reverb, delay, etc.
Yes, some effects added to the vocal may have an effect on pitch, but the effects are so noticeable (as intended) that it is still a different thing from a person saying, “listen to my singing on this record” and then presenting a sort of underhanded misrepresentation of their actual expression of tones (musical notes) themselves.