Celemony Melodyne 5 Studio v5.0.0.048 IN & MacOSX

Melodyne grants you unrivaled access to all the musical details in your recordings and samples – note by note. This is made possible by a sophisticated analysis that delves deeply into your recordings and samples, and recognizes and understands the musical relationships within them: the individual notes and their characteristics, the scales, keys and chords, the timing, the tempo, the tone color. And with Melodyne you can edit all these things intuitively. With vocals, but every type of instrument as well – including polyphonic ones, such as the piano and guitar.

New in Melodyne 5

New technologies, for better results in less time. Thanks to the fundamentally improved “Melodic” algorithm, Melodyne makes your vocal editing even better than before. With perfect, natural corrections at the press of a key. Thanks to the Chord Track, you can adapt notes with lightning speed to suit the song – chord recognition included. And with the unique Fade Tool, you can create note-based fades – even in polyphonic recordings and samples.

All this is new:

the ability to edit pitched and noise-like components separately with the “Melodic” algorithm
a more musical analysis of pitch deviations
the Chord Track and Chord Grid for pitch editing, chord recognition
the Fade Tool and Leveling Macro for editing dynamics
an additional algorithm (“Percussive Pitched”) plus other algorithm improvements
search functions for keyboard shortcuts, saving of shortcut sets

Vocals, now even better

Melodyne heightens its core competence. The “Melodic” algorithm used for vocals can now distinguish the unpitched, noise-like components of a note – i.e. voiceless consonants (such as sibilants like “s”) and breath sounds – from its pitched components. Even when they coincide. And although all pitch and timing changes are implemented in the tried-and-tested manner as far as the pitched components are concerned, different rules that emulate accurately the natural behavior of the human voice govern the handling of sibilants. So now when you are working with Melodyne, you obtain the highest possible sound quality and most natural-sounding results automatically.

Pros will be relieved to discover it’s no longer necessary to isolate each individual sibilant by hand. That saves a lot of time and makes for a more meaningful display in the Note Editor. At the same time, the results sound far better, as automation works more precisely and overlaps between sibilants and pitched components are taken into account.

Sibilant detection not only yields acoustic advantages but also new creative possibilities: With the Sibilant Tool, you can adjust the balance between the sibilants and the pitched components of a note. Sibilants can be attenuated, muted altogether, emphasized or even isolated – everything is possible. So, into the bargain, you get a perfect de-esser that only affects the problem areas and has no side-effects on other components of the vocal sound.

Modeled on human hearing

Why do some notes sound out of tune and not others? Fluctuations in pitch contribute to the quality of a vocal performance, because it is through them that passion and emotional complexity find expression. They give it, in other words, its human dimension. But for their contribution to be a positive one, the nature, scope and precise timing of such fluctuations is of crucial importance.

A note doesn’t necessarily sound sharp or flat just because it isn’t “spot on” mathematically. Just particular, often very brief segments of the note annoy us. Sometimes at the beginning, sometimes at the end, sometimes somewhere in between. It is these crucial segments that have to be perfectly in tune; if they are, the note will sound right to us. The presence of any fluctuations before or after to such segments doesn’t trouble us – to the contrary, we feel they add life to the performance and sound natural.

Melodyne now identifies these problem areas precisely, and the offset shown in the Note Inspector is calculated from the pitch of each note at the crucial moment only – not its entire lifetime. As a result, double-clicking (to set a note’s offset to zero) now yields precisely the right musical result. Also the macro profits from this new, even more musical approach: Each individual note is pitched to perfection. Yet everything still sounds natural and alive.

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