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Overall, Melodyne feels as though it’s evolved into a mature and assured interface, leaving behind any feeling of youthful inexperience. Users of the standalone Melodyne Studio will be used to a degree of multitrack operation, but for plug-in users, who would have had to open separate instances of the plug-in for each different track lane, this change in operation makes a profound difference to Melodyne’s use and operation. This is particularly evident in Melodyne’s multitrack operation, where it’s now much easier to view and indeed edit between multiple track lanes. Obviously, Melodyne 4 isn’t designed to replace your existing DAW, but it does provide a more coherent workflow for those who enjoy working in the standalone version.Ĭonsistent to both the standalone and the plug-in versions of Melodyne 4 is a revised user interface, which feels more approachable and responsive across the board. So, although there’s an enhanced version of the plug-in Melodyne available, the standalone Melodyne now features a greater array of DAW-like functionality, including the option to record directly into the application. Fundamentally, there seems to be a notable shift back to Melodyne’s role and function as a standalone application in its own right. Gang of Four While it would be hard to trump the revelation of seeing Melodyne for the first time, or indeed, the ‘exploding notes’ of DNA analysis taking place, it would be fair to say that Melodyne 4 is still an exciting and significant evolution of the Melodyne concept. Although Melodyne still sounded the best, and was the only solution to offer DNA note access and true polyphonic correction, many wondered where Celemony would take its groundbreaking audio-editing system next.
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Inevitably, though, the unique Melodyne-like way of editing audio crept into may DAWs, with systems such as Logic Pro X’s Flex Pitch and Cubase’s VariAudio both bearing a striking visual and sonic similarity to Melodyne. Once transferred, though, the experience was the same as having a Melodyne-powered audio track in your host sequencer, with the ability to change or refine any aspect of the recorded performance, right up until the last point of mixing. Rather than working as a real-time processor, audio still needed to be streamed into the Melodyne engine (this simply involved playing the song through once, with the Transfer button engaged) before you began any editing. Whereas users of the original Melodyne could only work with monophonic audio files, (such as a vocal, for example), DNA-powered users could ‘explode’ each and every note of a polyphonic performance – re-voicing chords on a guitar, for example, or completely changing a tune played on the right-hand of a piano.Īnother important step, which revolutionised the workflow of many users, was the introduction of a plug-in version of Melodyne. Musical DNA Since the initial inception, the evolution of Melodyne has witnessed some important leaps in its functionality. One of the biggest shifts came in 2008 with the introduction of ‘DNA’ technology – a revolutionary new pitch-detection algorithm, which finally made polyphonic pitch correction possible.
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Developed by Peter Neubäcker, Melodyne worked as an offline pitch and timing correction system – an approach that contrasted with Auto-Tune, which worked as a real-time plug-in.Īlthough Auto-Tune’s results were more immediate (and more noticeably ‘modified’, for that matter), Melodyne’s scientific accuracy meant the results had a transparency which few solutions could match. In short, you didn’t hear Melodyne working, just a fault-free performance. However, whereas Auto-Tune attracted the majority of the bad press (certainly, it became synonymous with the perceived sanitisation of modern music), Melodyne went about its business in a more transparent and musically sensitive way.įrom the very beginning, Melodyne’s strength has been an almost-scientific understanding of the principles of sound and pitch perception. Alongside the infamous Auto-Tune, Melodyne had the potential to correct even the most un-musical of performances, modifying pitch, intonation, and, in Melodyne’s case, timing inconsistencies.
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First released back in 2001, Celemony’s Melodyne was one of a series of tools that revolutionised the public perception of recorded music.