In Melodyne, you work with notes — and not with a meaningless wave form. You can modify each note and thereby influence melodyne osx torrent the intonation, phrasing and dynamics — and do this not only with vocals and monophonic instruments but with polyphonic instruments such as pianos and guitars as well. Melodyne 4 studio The complete Melodyne. Melodyne 4 studio offers you all Melodyne functions for both correction and creative applications melodyne osx torrent an unlimited number of tracks.

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Now, revolutionary features in version 4 promise to make tempo and timbre equally fluid. Can you keep a secret? Many of the non—disclosure agreements we sign are about things so dull that no—one would have bothered to disclose them anyway. Just occasionally, however, a product comes along that is genuinely revolutionary, and when Celemony first showed me a beta of Melodyne 4, it was immediately obvious that they had come up with something a bit special.

Melodyne 2 was available in several different editions. The flagship application was the stand—alone Melodyne Studio, a multitrack audio recording and processing environment which could be linked to a DAW either using ReWire or through a special Melodyne Bridge plug—in. However, for some reason, Melodyne Studio never included the polyphonic DNA technology, and relatively few users needed its multitrack capabilities, so most opted instead for the more affordable and DNA—equipped Melodyne Editor package.

This comprised a stand—alone Melodyne Singletrack application and a plug—in version which would typically be used as an insert effect within a DAW. So the first thing to be noted about the new versions is that it brings all of the different flavours of Melodyne back into sync.

The only possible fly in this particular ointment concerns backwards compatibility. Projects created in any previous version of Melodyne should open without problem in Melodyne 4. However, the Melodyne Bridge plug—in is no more, and there are a few features which were unique to Melodyne Studio 3 that have been dropped. Celemony say that these features were not much used, which I can well believe.

Left Brain, Right Brain Ever since the launch of the very first version of Melodyne, Celemony have been at pains to present it as more than just a tool for correcting wayward pitching. It does, of course, excel at correcting wayward pitching; but it also lets users explore new creative pathways, working with recorded sound in ways that were never previously possible.

Some of the biggest improvements are universal, and relate to the user interface. The stand—alone Melodyne Studio 3 application could open multiple audio files and display them in lanes, DAW—style, but you could only edit notes for one track at a time.

Melodyne Studio 4 introduces genuine multitrack capability and, for the first time, extends it to the plug—in version. Audio files can be opened in the stand—alone Melodyne 4 through the Import dialogue, or by drag and drop, and additional files can be brought into a Melodyne project at any stage. Files are analysed as they are added; Melodyne will select the most appropriate algorithm for the material, or you can force everything to be analysed using the algorithm of your choice.

The plug—in implementation is, of necessity, a little different, but very well thought through. The plug—in window for any instance of Melodyne within a project can display a list of all the other instances down the left—hand side. Once the audio has been captured, the experience of working in the Melodyne Studio plug—in is in most respects now no different from working in the stand—alone program. The window is fully resizable, and not only are keyboard shortcuts now freely assignable within Melodyne, but they work in the plug—in version as well.

Melodyne Studio 4 brings full multitrack operation to the plug—in version for the first time. In one plug—in window, I have three harmony vocal parts open for editing, with the lead vocal notes visible for reference in grey.

By engaging the Transfer buttons in the plug—in instance view at the left, I can transfer audio to any number of Melodyne plug—ins at once. Especially in a large project where multiple parts needed to be processed, it usually seemed quicker and easier simply to render them as audio parts within the DAW and load them into the stand—alone Melodyne Editor, or to work within a DAW, such as Studio One or Sonar, which could host Melodyne as an ARA—format plug—in.

Not any more. Lane Discipline Once analysed, the stand—alone Melodyne Studio displays each file or track in its own lane, with waveform display, in the multitrack view that forms the top half of the window. So, for example, in a situation where you have several backing vocal parts in a song, you can now display them all together, and select, edit or apply macros to any combination of notes from multiple parts simultaneously; and if it helps to be able to view the notes that the piano or guitar are playing at the same time, you can make them visible without making it possible to edit them accidentally.

It did occur to me that it might also be a nice visual aid if you could apply different colours to the tracks being edited, but in practice, I usually found it clear what was going on. Multitrack editing in the stand—alone Melodyne Studio 4.

The tracks view along the top serves mainly as a visual reference, but is also used to select which tracks are editable within the main Note Editor. Another neat touch is that Celemony have minimised the need to mess around with faders or mute and solo buttons in order to hear what you need to hear for editing purposes, thanks to a single slider at the top right of the Note Editor area. In its leftmost position, this solos all and only the tracks selected for editing within the Note Editor.

As you move it rightwards towards the centre position, tracks selected for reference within the Note Editor are brought up; and as you move it further right, the remaining tracks become audible, so that in its rightmost position, all Melodyne tracks are heard at equal levels unless muted or attenuated in the track header.

This is a beautifully simple yet effective piece of interface design, which condenses all the level control you really need into a single slider. They turn what was a quirky and occasionally frustrating program into something that is a genuine pleasure to use. If you ever find yourself having to work with multiple backing vocal parts, or close—miked ensemble recordings, these changes fully justify the price of upgrading from Melodyne Editor to the multitrack Studio version of Melodyne.

The Melodic and Rhythmic options are unchanged, but in the Melodyne editions that support polyphonic analysis, there is now a choice of two options. Polyphonic Decay is similar to the original polyphonic algorithm, whereas Polyphonic Sustain is designed to work with sounds such as legato strings that do not contain clear note attacks.

Celemony say that they have improved the sound quality of their algorithms in version 4, and my experience bears out this claim. The polyphonic pitch analysis and correction in Melodyne 2.

Pitch editing within polyphonic material is available only within the Studio and Editor editions of Melodyne. However, another new algorithm is supported within all versions of the program, right down to the lowliest Melodyne Essential 4.

On the face of it, this new Universal algorithm might not sound that exciting. In a nutshell, the Universal algorithm allows the user to perform very high—quality time—stretching and time correction, and within the basic Assistant and Essential editions, this is probably its main attraction.

In the stand—alone versions of these programs, the Universal mode forms the basis of tempo analysis and manipulation features that sometimes defy belief. Drop an audio file into it, and whatever analysis mode you apply, Melodyne will create a tempo map, which looks fairly similar to the tempo tracks in DAW software such as Cubase or Pro Tools. Once created, there are two editing modes which can be engaged: You can also add or edit time—signature changes in a little ribbon above the map.

Where Melodyne detects major discontinuities in the song tempo, for instance as a result of long pauses or tempo changes, it will divide the map into regions; these can also be adjusted, added or removed manually. It has correctly identified the acoustic guitar as the main rhythmic element and has generated a tempo map visible in the lower half of the screen that reflects the tempo of the session as a whole.

For one thing, the way in which Melodyne analyses music is, well, musical. Even more important is that the editing tools it makes available are musical, too.

By contrast, the editing tools in Melodyne 4 just seem to do exactly what you want them to. This functionality, teamed up with the very high—quality time—stretching offered by the Universal analysis mode, has the potential to deliver stunningly natural results.

Going Further In the single—track Melodyne Editor application, tempo maps can be saved and loaded independently of the audio, which opens up some very interesting possibilities.

For example, if you are working with a multitrack project, you could make stem mixes, open the drums or percussion stem in Melodyne Editor, generate a tempo map, and drop into Tempo Edit mode to correct a bit of speeding up on the second chorus, and render the drum stem as a new file. Then, you could open each of the other stems in turn, load the tempo map from the corrected drums, and conform all the other parts to that, quantising any sloppy playing as you go. Better still, if you want to add loops or other audio content from a different session, you can easily conform them to the same tempo map, so that they not only are brought to a fixed tempo that matches the song, but follow its ebb and flow.

Tempo edits in a multitrack Melodyne Studio session preserve phase accuracy between tracks, so you can work with multitrack drums or other multi—miked sources without incurring phase problems. Engage the Auto—Stretch button, and any further audio you add to the project will automatically be conformed to the current tempo map.

What You Can Do One of the projects I used as a testbed was a multitrack recording of a folk song where we had dubbed piano, penny whistle, electric guitar and a harmony vocal over a live take of vocals and fingerstyle guitar. The original guitar part was rhythmic, but after a bright start at 95bpm or so, slowed down gradually through the take, ending at 85bpm or so.

Apart from the piano, none of the other parts had much rhythmic content, and there were lots of legato slurs in the whistle part. I wanted to add further rhythmic elements to the track, but the obvious tempo fluctuations made any drum part sit uneasily, so I decided to see whether Melodyne Studio could nudge the entire project towards strict tempo. To that end, I dropped all the files into a new Melodyne document, waited for the analysis to complete, and opened the Tempo Editor.

Slightly to my amazement, the analysis had not only correctly focused on the guitar as the main rhythmic element in the multitrack, but had created a tempo map that fitted it like a glove, requiring no editing at all.

Thinking this was possibly a bit too good to be true, I then tried forcing the whole thing to a strict 93bpm — and it worked! As long as I used Universal analysis mode for the polyphonic sources, there were no audible time—stretching artifacts that I could detect; and as importantly, the process preserved all the musical nuances of the performance.

Slightly spooked, I undid the automatic tempo adjustment and turned instead to the manual editing tools. It was soon apparent that these have been very cleverly crafted to work with patterns of tempo variation that are typical of musicians playing without a click. With a little practice, it becomes second nature to identify a slump, lump or hump in the tempo curve, select the appropriate section of it and drag to iron it out or exaggerate it, if you want.

Emboldened by this success, I engaged Auto—Stretch and dropped a drum loop onto a new track. It matched up perfectly. Taking the opportunity to perform a little corrective pitch work on the vocals, I then exported new versions of all the tracks — which, naturally, you can do all at once — and loaded them into Pro Tools for mixing.

For instance, problems can arise if you decide to change the algorithm of a track after having performed tempo edits. In the example described above, I belatedly noticed that the piano was out of tune and decided to re—analyse it using Polyphonic Decay mode to apply some sweetening.

When I did so, it came adrift from the modified tempo map; in fact, if I kept Auto—Stretch on, Melodyne trimmed a large section of silence from the start of the piano part, mistakenly assuming it was supposed to begin at bar 1. There are also occasions where a bit of lateral thinking is required in order to get Melodyne to place the bar lines properly.

You can click and drag in the time—signature ribbon to reposition the bar lines, but only in the units of the time signature that Melodyne has chosen. There are a couple of minor but obvious ways in which the tempo functionality could be improved in future versions, too. The Make Tempo Constant menu option is currently all or nothing, and to my mind, would be more useful if it offered a continuously variable degree of correction.

I must emphasise, though, that these are minor issues. In the majority of real—world situations, the new tools for working with tempo in Melodyne 4 are a pleasure to use, and they carry out their work with a musicality and transparency that is, as far as I know, completely unprecedented.

In the hands of Melodyne, the pitch of recorded audio has always been fluid; these tools apply the same philosophy to the time domain, and with equally stunning results. The Sound Editor I mentioned earlier that Melodyne users tend to fall into two groups: If the most obvious applications of the new tempo functionality lie towards the former end of the spectrum, then the other major innovation in Melodyne 4 definitely redresses the balance. Available only in the full Studio edition, the Sound Editor is a suite of tools that provide fresh ways of altering the tonality of recorded sound.

As is well known, any complex pitched waveform can be broken down into a number of sine waves at different, but related, frequencies. What Melodyne does when it analyses an audio recording using Melodic or one of the Polyphonic detection algorithms is to identify the fundamental and the harmonics belonging to each note.

This information is has always been the basis for its pitch—based tools, but the Sound Editor exploits it in some new and highly original ways. The dark grey dots move up and down to show the instantaneous real—time value at each frequency.

The Sound Editor has three different editing modes, accessed using buttons at the top labelled Harmonics, EQ and Synth. These are paired with a couple of slider controls which are visible in all modes. The first of these is called Emphasis, and its effects are perhaps easier to hear than to explain.

As we have seen, each instrument produces a characteristic pattern of harmonic amplitudes, but these can vary quite a bit from note to note, as the instrument is taken up and down its range, or is played loudly or quietly.

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