- Publisher: Celemony
- Product: Melodyne 5
- Version: 5.0.1.003
- Bit Depth: 64-bit
- Operating System: Windows
The Grammy Award-winning pitch & time manipulation software Melodyne has employed everywhere the planet every day: a studio standard, in fact. But even the simplest things are often improved: because of the fundamentally improved algorithms, the Melodyne 5 makes your vocal editing even better than before. With perfect, natural corrections at the press of a key. With the new Chord Track adapting notes with lightning speed to suit the song – chord recognition included. With the unique Fade Tool that makes note-based fades, even in polyphonic recordings also as samples. And there’s far more to get
Melodyne 5: What’s new?
The basic architecture of the Melodyne line is unchanged in version 5. There are still four editions, with Melodyne Studio at the highest and Melodyne Essential the foremost affordable, and therefore the program remains available both as a stand-alone application and as a native plug‑in. There are not any major changes concerning the mixing of Melodyne into your DAW of choice: if your host program supports the Audio Random Access (ARA) protocol, you’ll work with Melodyne within the arrange page, but the streamlined plug‑in developed for version 4 still works alright in other DAWs.
A slightly unheralded aspect of the program that took an enormous breakthrough in version 4 was the web documentation. This has now been developed even further by having the documentation tailor itself to your specific use case. Two pop-ups labelled Edition and i am Working With allow you to specify which of the four Melodyne variants you own, and whether you’re working stand-alone or during a particular DAW. You’ll then see only those elements of the manual that relate to your specific circumstances. this is often an excellent idea and far more user-friendly than having to scroll past great screeds of text to seek out the relevant sections.
Death By 1000 Cuts
When it involves invisibly putting that which was out of tune into tune, many devotees feel that Melodyne has no peers. However, if you have ever watched a Melodyne ninja at work, you’ll know that this might be quite labour-intensive process. Seasoned users often head straight to the Note Separation tool and step through a vocal take chopping the auto-detected notes into much finer divisions.
This is tedious, but improves the leads to two ways. If there’s pitch variation within the course of a sustained note, Melodyne defines its pitch centre as a mean value; so once you snap the whole note to the pitch grid, there is no actual guarantee that a person section of it’ll be perfectly in tune. Chop it into smaller pieces and quantise each of those separately, and they’ll usually be closer to perfect.
The second reason for going behind Melodyne’s back and chopping up notes manually is that not everything detected by Melodyne actually has much-pitched content. Sibilants, fricatives, and lots of other consonants are primarily noise-based, and if you begin trying to ‘correct’ their pitch, you’ll achieve nothing except an increasingly obvious degradation of the sound. For the foremost natural results, then, it had been often worthwhile to snip them out as individual ‘blobs’ in order that they might be excluded from pitch manipulation. This had the additional advantage that the Amplitude tool could subsequently be used as a really effective, albeit painstaking, means of reducing any obtrusive esses in level.