V: You had an interview at one point where you said uh, I'm reading it right now, it said "I don't think Future gets the technology very well, I don't think he understands how it actually works. He's writing great songs, he's a great writer but, you know, you can use Auto-Tune, you know how to work it perfectly but you still have to know how to write a good [song]".

T: Yeah! I don't think he gets the technology. I mean, nobody does! Anybody that uses Auto-Tune, and I firm- I can firmly say that nobody has looked into Auto-Tune the way I have. You know what I'm saying? Like, I've looked into Auto-Tune. I've, I've literally met, I literally met the inventor of Auto-Tune. I talked to him about the, the way that Auto-Tune was invented. Auto-Tune was invented by this guy who used to be an oil digger. This guy used to work on an oil rig. And they used to send sonar signals and tones down in the ground, and if it came up a different tone, up to where your equipment was, then that means you, that determines if you got oil or not. So you send the signal, and if it comes back a different tone, then it changes the tone, like, oil will change the tone. So it's like, he used that same math to, to make Auto-Tune. And it's like, you send a tone into Pro Tools and it sends you the right tone back, and a lot of math went into that shit and... just some shit that's more complicated than it would, it would take us fucking a billion minutes to fuckin' explain the shit to regular motherfuckers. But... like, I really studied this shit, and I know for a fact that nobody has sat down in the studio and studied this shit that much. Nobody has done that. Because it happened too fast. They didn't have time to do it. I studied Auto-Tune two years before I used it once. And I know it happened too fast. After I used it, n***as just started coming out of nowhere. So it happened too fast for them to know how this shit works. And I know I studied this shit, and I know the technology. I know why, why it catches certain notes. I know why it doesn't catch certain notes. I know why the shit works the way it works, and I know n***as ain't did that. For sure.

V: Well you know when, when Kanye did 808s & Heartbeats, umm... & Heartbreaks, sorry, umm, and he used Auto-Tune, a lot of people really kinda went down on him, you know, came down hard on him over using it. Cos, I mean, honestly I feel that Kanye's use of Auto-Tune wasn't as good as your use of it.

T: Well the crazy, the crazy thing was I worked on 808s & Heartbreak[s] with Kanye. I went down to Hawaii for, like, ten days with that n***a, you know what I'm saying? And... and Kanye actually told me himself, you know, like, the, my album Rappa Ternt Sanga. He said "I listened to your album Rappa Ternt Sanga, I heard all those songs, I fucking love your album Rappa Ternt Sanga, I think you a genius" blah blah blah. He's like, he went through this whole spiel. He said "but what I figured out that Rappa Ternt Sanga is just a bunch of love songs with a shitload of bass in 'em". And I'm like "well, love songs is like heatbreaks, and the shitload of bass is like 808s, so you calling your album 808s & Heartbreak because you making a bunch of love songs with a shitload of bass in 'em?" And he basically was like "yeah pretty much! That's what I'm- yeah! That's it!" And I rea- and I respect that shit, but it's like... the praise that he got from it was like "oh my God this is so creative! This is the new shit! This is the shit!" And I'm like "well, what happened to 2005 when I dropped Rappa Ternt Sanga and it was the same album?" That's kinda weird. You know what I'm saying? It just feels like I was underappreciated and... anything like that and I mean anyd- any- any originator of anything is gonna be the lesser-known, you know what I'm saying?