Even with the mid-20th century’s recording studio wizards, if you were a vocalist who sang off pitch, solutions were time-consuming, difficult, and not always ideal. In the 1950s, capable vocalists could get by with a little spring reverb and maybe some slap back echo. Later, in the 1960s, singers could multitrack their vocals and apply other effects like tremolo (Tommy James on “Crimson & Clover”). John Lennon, famously insecure about his own voice, had engineer Geoff Emerick run his vocals through a gerry-rigged Leslie organ speaker to create a vibrato effect for “Tomorrow Never Knows.”
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Beyond these effects, if a vocalist couldn’t sing on pitch throughout a recording, it was difficult to mask, and required more drastic measure. But like most anything in the 20th century, the technological solutions for off-pitch vocals were waiting to be discovered.
Variable tape speed
Auto Pitch Correction
By the 1940s, studio engineers could produce primitive pitch correction by tweaking a reel-to-reel magnetic tape recorders varispeed. This process became more popular in recording studios during the 1950s and 1960s. By slowing down or speeding up a part of a recording and splicing with the tape containing the majority of the song, engineers could alter pitch. Another method of varispeed pitch correction was to slow a tape machine down, re-record a new part at a lower pitch, and then bring the recording back up to its original speed.