Let the Alpine Play contains no Auto-Tune.

This is not presented as proof of moral superiority. The record is full of processing, editing and deliberate studio artifice.

The useful distinction is narrower. Pitch remains part of performance rather than a surface normalized afterward.

That leaves small irregularities carrying information: breath, attack, vibrato, strain, the relationship between one stacked voice and another.

As synthetic perfection gets cheaper, evidence of expenditure becomes more interesting. A voice can function less like a polished interface and more like proof that a body occupied the room.