01 Installation and activation

01-01 Installation

To install Melodyne, launch the installation program, which either you will find on your Melodyne CD or you will have downloaded from the Celemony web site (it may be necessary to unpack the installation program with a double-click). Simply follow the onscreen instructions for the installation. Once the installation program has stored the files on the hard disk, you can launch Melodyne with a doubleclick. The Melodyne installation program offers you a number of options because Melodyne works with various different plug-in interfaces. Not all the possible components form part of the standard installation. In addition to Melodyne itself and ReWire support, the Melodyne Bridge plug-ins for the VST, RTAS and AU interfaces (the last-named only on the Mac) form part of the standard installation. Support for DXi (PC only) does not form part of the standard installation; please activate this option by hand if you need it. Prior to the installation, the installation program checks to see what components are already installed. You could, for example, install Melodyne on its own and run it at first without plug-in support. The desired plug-ins or other options can be added in the course of a second installation without damaging the original installation or the activation. Under Windows, a de-installation program is available, which you can use to uninstall the components you do not need. To do this, proceed as follows: 1. from the Start menu, open the Control Panel; 2. double-click on "Add or Remove Programs"; 3. from the list of installed programs, choose Melodyne and click "Remove". For further information about installation and the files that are stored in the course of it, consult our FAQ at www.celemony.com/faq.
Note: Melodyne is continuously being improved. During online activation, a check is made to see whether a later version is available than the version installed. Afterwards, please check from time to time to see whether a newer version is available than the one currently installed on your computer. One easy way to do this is by choosing "Check for Updates" in the Help menu. Alternatively, you can do this by visiting www.celemony.com/mycelemony. Via Melodyne's Help menu or the Celemony web site, you can also contact Support or consult our FAQ. If the
01-02 Melodyne plugin free or at a bargain price

computer you use for music is not connected to the Internet, here's how to discover whether or not an update is available for your Melodyne: - find which version of Melodyne you are using; this is displayed at start-up but can also be discovered by selecting the "About" item in the menu; - visit the download area of the Celemony web site and check to see whether a newer version is available; all the current versions are listed there; if there is a newer version, log in to your myCelemony account (see below) and download the relevant installation program.
Melodyne plugin is a practical edition of Melodyne that you can use directly from within your sequencer as a (VST, AU or RTAS) plug-in. In this way, you can correct vocals quickly and without complications as well as editing other instruments with the most important Melodyne tools. As a registered user of Melodyne studio 3, you receive upon request a Melodyne plugin licence free of charge, whilst as a registered user of cre8, you can purchase Melodyne plugin at an especially favourable price (see below). If you are a user of Melodyne studio 3, here's how to obtain and install your free copy of Melodyne plugin: - register and activate your copy of Melodyne, if you have not already done so. In the process, you will create a myCelemony account at www.celemony.com; - log in to your myCelemony account (www.celemony.com/mycelemony) and navigate to the options for your registered Melodyne studio 3; - click the option for requesting the plug-in. The myCelemony server will then provide you with a serial number and create a new product entry in your myCelemony account for Melodyne plugin; - download the latest Melodyne plugin installation program for your platform from myCelemony (use the download link next to the plug-in's name) and perform the installation. The plug-in is independent of your Melodyne studio and can if desired be installed on a different computer. Once the installation is complete, Melodyne plugin must be activated; to do this, load the plug-in into your host and follow the onscreen instructions given by the activation assistant. If you are a user of Melodyne cre8, here's how to obtain your copy of Melodyne plugin at a bargain price and install it: - register and activate your copy of Melodyne, if you have not already done so. In the process, you will create a myCelemony account at www.celemony.com;
- purchase the Loyalty Offer for Melodyne plugin from your local music dealer or our Web Shop. You will obtain a serial number for the plug-in; - log in to your account at myCelemony using a browser and navigate to the options of your registered Melodyne; - alongside the corresponding option, enter the serial number of your Melodyne plugin. The myCelemony server will then create a new product entry for the plugin on your myCelemony account; - download the latest Melodyne plugin installation program for your platform from myCelemony (use the download link next to the plug-in's name) and perform the installation. The plug-in is independent of your Melodyne and can if desired be installed on a different computer. Once the installation is complete, Melodyne plugin must be activated; to do this, load the plug-in into your host and follow the onscreen instructions given by the activation assistant.

Overview menus

View menu A variety of options relating to the layout of the Editor and Arrangement window as well as the showing and hiding of the play-algorithm- and audio-to-MIDI-inspectors
Navigation menu Commands for the creation and deletion of markers and navigating with their aid
MIDI menu Various options for the transposition and editing of blobs using incoming MIDI notes as well as commands for opening the MIDI preferences dialogs and audio-to-MIDI inspector
Window menu Commands for opening the Editor, Mixer and Arrangement window along with a number of Melodyne's other windows
Help menu Commands for opening the manual and going online to check for updates and access the FAQ and support pages on the Celemony web site
Main tool At the beginning of a note: alter position (if the Alt key is held: without snapping)
In the middle of a note: alter pitch (if the Alt key is held: in steps of a cent instead of a semitone)
At the end of a note: alter length (if the Alt key is held: without snapping)
Above / below a note: create a note separation (where none exists); otherwise, delete (double-click) or move one. If the Alt key is held, segments can be created or reunited; the latter presupposes, of course, that they once belonged together. Pitch tool At the beginning or middle or a note: double-click quantize pitch to the nearest suitable semitone (blue frame)
At the end of a note: control the pitch transition to the next note. Double-click: transistion on or off
Sub-tools (for pitch modulation i.e. vibrato or drift: These tools are not context-sensitive: double-clicking on a note removes the vibrato or drift altogether or restores it.
Formant tool At the beginning or middle of a note: alter formants (bear in mind that this is only possible if the melodic playback algorithm has been selected). Double-click: restore formant beams to their original positions
At the end of a note: control formant transition to the next note

Overview tools

At the beginning and middle of a note: alter amplitude. Double click: mute or else unmute notes (toggle)
Amplitude tool At the end of a note: control amplitude transition to next note
At the beginning or middle of a note: alter position of note (if the Alt key is held: without snapping). Double-click: quantize to the next suitable time unit (silhouette in the blue frame)
Time tool At the end of a note: alter length (if the Alt key is held: without snapping)
Sub-tool: tool to govern the starting speed of notes
Note separation tool Above / below a note: create a note separation (where none exists); otherwise, delete (double-click) or move one. If the Alt key is held, segments can be created or reunited; the latter presupposes, of course, that they once belonged together.

Finally, the loop really is in 5/4 time and the notes coincide with the grid lines.
03-12 Copying and pasting notes
Selected notes can be copied and pasted. You can only copy part of a melody to a place within a melody where there is enough space. If you wish to insert notes into the middle of a continuous melody, you have to make room for it by splitting the melody (using the Note Separation tool) and moving the following notes out of the way. Only then can you insert the new notes. This is not the case if you are replacing notes directly. If, for example, you copy a note, select a second note that is in fact shorter, and then click paste, the pasted note simply shrinks to fit the hole left by the note it is replacing. The same applies when replacing one series of notes with another. If quantization is inactive, the first note will be pasted at the cursor position and the others will follow at the same intervals as in the passage from which they have been copied. Otherwise, the exact position to which notes are pasted depends not only upon the position of the cursor but also upon the quantization factor, which is indicated by the blue box at the right-hand end of the Bar/Time ruler. If, for example, Bar (1/1) is selected, notes will be pasted to the same positions in the
bar in which the cursor is currently located, as they occupied in the bar from which they were copied. Note: you can learn more about copying and pasting notes and the effect of the Autostretch function in this context from 06-04 Arranging by copying and pasting. When a melody has been put together by copying and pasting more than once, it will consist of the same number of segments (see the section on note separation and segments above). You can move the beginning and end of the segment boundaries, if there is enough room respectively before the beginning and after the end of the segment. If you extend the boundaries of the segment in this way, part of the recording will be audible that was previously defined as not belonging to the note. This is useful, for example, when you have copied and pasted a vocal line but not the intake of breath that preceded it, but decide, after all, that youd like the intake of breath to be heard prior to the pasted line as well. In such cases, you just drag to the left the segment boundary at the start of the pasted line until the intake of breath becomes visible (and therefore audible).

04 Other tools

In the preceding chapters, we encountered Melodynes Main tool, the aspect of which, you will remember, depends upon its position relative to the nearest blob. Positioned in the middle of a note, it becomes the Edit Pitch tool; positioned at the beginning or end, it becomes the Edit Time tool; positioned above or beneath a blob or else above the note separator between blobs, it becomes the Note Separation tool. With this multi-function tool alone, you have what is obviously a very powerful set of editing options; but these are by no means all that Melodyne has to offer. In this chapter, we will be looking at the other tools, which offer additional ways of editing audio data. These are also accessed by right-clicking (or Ctrl-clicking on the Mac).

Note: certain Melodyne Sound Library titles also offer multi-voice material such as vocal or wind ensembles. The multiple voices here are achieved through the combination of individual ones, so you retain access at all times to the harmonies
A sound bank in the Melody Manager
and their course. In the Melody Manager, you will find the samples for such ensembles in sub-folders. You will also always find there an arrangement that you can audition directly in the Melody Manager as though it were a sample, in order to hear all the voices in context and with it the entire ensemble. You can only at that time import the contained samples individually either by selecting them in the Melody Manager and dragging them one by one into your arrangement or by loading the audition arrangement parallel to your own and copying the samples from one arrangement to the other.
Files from a Melodyne Sound Library or Liquid sound bank are marked in the Audio window and cannot be moved or copied into the audio file folder of an arrangement. If you wish to transfer an arrangement that uses files from a Melodyne Sound Library or Liquid sound bank to another computer, the relevant library or sound bank must also be available and activated there (though it does not matter where on the second computer the requisite library file is stored).
Arrangements in the Melody Manager
The Melody Manager displays not only samples but also Melodyne arrangements. An arrangement is represented by a miniaturized image of the Arrangement window and Mixer. Using the Playback switch, you can now audition (i.e. listen to without loading) arrangements along with all the tracks they contain just as though they were samples. A double-click on the title bar opens the selected arrangement in Melodyne. When you are looking for sounds, this new option allows you to audition a number of arrangements swiftly and easily, loading the ones that interest you, and copying the sounds you want into the current arrangement.
A Melodyne arrangement in the Melody Manager

05-02 Compound notes

A useful aid when editing and handling notes is the ability to form a succession of single notes into a compound note. This is particularly useful with ornaments as well as notes created using the commands Separate Note as Trill or Separate Note as Slide in the Edit > Edit Note Separations submenu. The advantage is that you
can perform the same action on all of the notes of which a compound note consists simultaneously. If later you need to edit the notes singly, simply deselect the Use Compound Notes option (rather than de-compounding the note itself).

Notation: tonal / rhythmic. This determines whether the notes will all be displayed on the same line in the score (like a snare drum part, for example) or like a normal melody, where the position of each note depends upon its pitch. This parameter, too, is accessible from the Definition menu, so you can change your selection after the analysis is complete. Portamento: Treat notes separately / Track portamento: In the course of its own analysis of the audio data, Melodyne always takes account of any portamentos (sliding from one note to another), but after dragging either or both notes to a different pitch in the course of your own editing, you may feel that a portamento is no longer appropriate. This parameter determines the global default: whether the notes should in such cases be separated or the portamento retained, though you can, of course, override it in individual cases using the Note Transitions tool in the Editor.
Play Algorithm: here, too, you are simply setting the default. The playback algorithm can be changed at any time (the options are described below) without requiring a fresh analysis of the audio file. Separation: these options determine the basis upon which Melodyne decides whether to interpret a sonic event as a single note or as two or more individual notes. In the case of melodic material, a change of pitch is taken as indicative of a change of note, but in the case of polyphonic and percussive material this is largely ignored. Instead, the presence of a fresh attack is determinative.
Note that even if you leave the defaults unaltered in the Detection panel of the Preferences dialog, the program will still behave differently from the way it behaves when automatic detection is selected; for example, if under Separation you select Percussive, Melodyne will observe the criteria chosen whether the material is really percussive in nature or not. Custom detection parameters should only be used in rare cases, such as when you are processing a set of audio files of the same type for a sound library and know exactly which settings are most appropriate. Under other circumstances, Melodyne will almost certainly do a better job if left to its own devices. For this reason, if any custom detection parameters are active when you next launch Melodyne, you will be asked to confirm that you still wish to use them. This is to prevent you carrying on for weeks using non-standard settings (and in all probability obtaining inferior results) without realizing it. Reset or repeat detection The Definition menu allows you the option of resetting or repeating the detection with fresh parameters, as well as offering a shortcut to the Detection page of the Preferences dialog, the contents of which we have just been describing.

reproduced precisely by MIDI instruments. As an alternative to the realtime transmission of the MIDI data, Melodyne can export it as a file that you can then load into a variety of other MIDI programs for further editing. To activate the output of MIDI data, select View > Show Audio-to-MIDI Parameters or MIDI > Show Audio-to-MIDI Parameters and these will then be displayed beneath the Menu bar in the Editor or Arranger window. All the settings relate to the currently selected track.
The audio-to-MIDI parameters
When Realtime MIDI Send is checked in the rightmost pane of the Audio-to-MIDI parameter set, the list box below can be used to select the MIDI port to be used and the edit box to the right of it to determine the MIDI channel. If you have loaded software instruments into Melodynes mixer, the names of the instrument tracks of the mixer will also appear in the MIDI Ports list box. By clicking and dragging in the Velocity box on the left, you can vary the shape of the Note On velocity curve; it is also possible to determine the minimum and maximum values by dragging the horizontal lines located initially at the bottom and top of the rectangle. If you wish Pitch Bend messages to be included in the transmitted MIDI data, check the Pitch Bend box; the edit box directly below is used to determine the Pitch Bend Range in semitones and should correspond with the same parameter of the MIDI instrument being controlled. (Any difference in the settings will lead to either a reduction or an intensification of the effect). A problem that arises with MIDI when you have to use a Pitch Bend controller (or in this case: Pitch Bend messages) to realize a portamento between two notes is that the controller is inevitably out of position at the instant the first note ends, since in the course of the first note it moves further and further from the neutral position it needs to be in the instant the second note begins. Even when the messages are generated by software rather than a physical controller, the result is often a noticeable discontinuity.
Melodyne therefore offers three different algorithms (Each Note, Central Note and Alternating Channel) for implementing passages in which the pitch glides smoothly rather than moving stepwise from note to note. If the default, Each Note, in which Note On and Note Off messages are sent for each blob in the display (i.e. each note) results in discontinuities of the type described which is often the case if the sound selected has an audible release phase the other two algorithms are designed to address the problem, either by sending the same Note On message each time throughout the portamento passage and implementing the variations in pitch within the passage using Pitch Bend data and nothing else (Central Note) in which case if the melody has a compass of an octave, the Pitch Bend range needs to be +/- 6 semitones and the Pitch Bend resolution of the MIDI tone generator receiving the messages needs to be high or else by distributing the notes alternately between two neighboring MIDI channels, which gives each of them time to recover and ensures that as each Note On message is sent, the Pitch Bend status of the channel sending it is neutral. If you use this third mode, make sure that the same sound program is selected on both channels and that the second channel is not being used for a different channel. If for example, you have assigned Channel 1 to a particular track, in Alternating Channel mode Channels 1 and 2 will now be used. Remember that Pitch Bend data invariably applies to an entire MIDI channel, so you will need at least one MIDI channel for each of the tracks of your arrangement from which you intend to generate pitch bend data. Not only the pitch but also the amplitude of the original melody can be used to modulate parameters such as the corner frequency of filters as well obviously as the volume itself, the result being a far more vibrant and realistic performance. To take advantage of this option, check the Envelope box and select, from the edit box below, the number of the MIDI controller you wish to be governed by the amplitude; the default is Controller 11 (Expression Pedal) but you can select Controller 7 (Volume) or indeed any other controller you like, if you wish the amplitude of the audio to govern the timbre of the sound generated by the MIDI instrument rather than simply its volume. The rectangular box to the right of the Envelope checkbox operates in the same way as the Velocity box described a few paragraphs back: to alter the shape of the curve, click within the box and drag the pointer upwards or downwards, and click and drag the upper and lower extent of the rectangle to define the range. Note that if both key velocity and Controller 7 are being used to control the volume of the receiving instrument, quiet notes are in danger of becoming inaudible unless either the velocity curve is programmed to ensure that only values at or near the top of the available range are sent or the

The option permitting the creation of an individual file for each note
05-08 Variable Tempo Editing mode
The Channels radio buttons allow you to elect either to save all the active channels in a single audio file (to which you will be invited to supply a name) or as so many individual files (in which case these will take their names from the tracks themselves). Finally, using the check boxes at the bottom of the dialog, select the tracks from which you wish to save data and exit with Save As. If you are exporting individual files, the settings of each track (the volume, EQ and insert effects settings) will be exported but not those of the Master section or aux effects. If you select Save each track as a single file, every active track will be saved as a separate audio file either mono or stereo depending upon whether the mixer channel assigned to the track in question is defined there as mono or stereo. You have the additional option of writing or not saving an MDD file at the same time and in the same folder as each of the exported audio files, which will allow you to edit the file at a later date without waiting for it to be analyzed a second time. If you have compiled group tracks or ReWire tracks, these will also be exported at the same time. If ReWire or instrument tracks are being used or MIDI transmitted in real time, the export process will also be performed in real time. When you first open the Save Audio dialog, you will see from the check boxes at the bottom that all active tracks that are currently unmuted are initially selected, but of course you can deselect any of these and select others if you wish. If you have selected Save each track as a single file, after clicking Save As you can select a folder: the files will automatically be given the same names as the tracks from which they are derived. [Cmd]+[A] selects all tracks in the Save Audio window whenever at least one track remains unselected and deselects all whenever all are selected. If in the course of an audio export operation the level is too high, the error will be reported at the end and you will be advised to adjust the mixer settings to prevent a recurrence when the material is exported a second time. A separate section is devoted in Chapter 7 to the Spot to Pro Tools option that appears under certain circumstances in the Save Audio dialog, so we will not deal with it here.
When there are no tempo changes within an audio file or arrangement, the tempo is determined by the value in the top right-hand corner of the Transport bar. The effect of altering this depends upon whether Autostretch is checked (in which case the audio material is stretched or compressed to correspond with the new tempo) or unchecked (in which case only the grid that forms the background in the Editor expands or contracts, whilst the notes themselves remain fixed). If, however, there are tempo changes within the audio file (either because it was played rubato or because the time signature changes at some point in the score) or you wish to introduce tempo changes to your arrangement, select Edit > Variable Tempo Editing Mode. When this mode is active, whenever the mouse pointer passes over the gridline separating two crotchets (or quarter notes) in the Arrangement window or Editor, it changes its appearance to become the Time tool. You will notice that when you drag a gridline to the right using the Time tool, the entire grid expands horizontally, whereas when the gridline is dragged to the right, the grid contracts horizontally. Whether the tempo of the audio is reduced or increased when you do this depends upon whether or not the Autostretch box in the Transport Bar is checked: If so, it is; if not, all you are doing is adjusting the grid to fit the notes. If you double-click at the beginning of a bar, a blue line will appear. You can set a different tempo each side of the line.

06-05 MIDI In options

It is possible to edit an arrangement using your MIDI keyboard as well as using Melodyne as though it were an instrument and playing it in real time via MIDI. To activate MIDI, you must first select a standard MIDI input under MIDI Ports.
From the MIDI menu, you can determine how Melodyne handles incoming MIDI notes: When MIDI In Plays Notes is selected, you can play the blobs in the arrangement using a MIDI keyboard. If the playback is not running, you can move in Step mode from one note to the next. (You can also move notewise forwards or backwards using the arrow keys on the computer keyboard). When the playback of the arrangement is running, you hear the blobs with the pitches you enter with the MIDI keyboard. The playback is always in mono; that means you hear always the pitch of the key last pressed. When you release the last key, the pitch returns to its original in the arrangement. In MIDI In Plays Notes mode, all changes are only temporary realtime events; they do not, in other words, alter the notes in the arrangement. When MIDI In Edits Notes is selected, you can use the MIDI keyboard to edit the notes; in other words, the notes in the arrangement are moved to the positions played and remain there. As in MIDI In Plays Notes mode, you can edit the sequence of notes in step mode if playback is not running. If playback is running, you can move notes in real time. When editing in real time, the actual movement of notes is rather different to what you hear as you play: admittedly you hear the altered pitches at precisely the moment that you play a note, but the actual movement of the notes is governed by the note separations defined in the audio file. In this way, more natural transitions between notes are obtained. If you play a few shorter notes over a long original note, the note is not separated; if you want a separation, cut the long note in the desired places with the Note Separation tool prior to playing.
When either MIDI In Transposes All from C3=0 or MIDI In Transposes Track from C3=0 is selected, the entire arrangement or track is transposed through an interval calculated by subtracting Middle C from the key pressed; up a tone, in other words, if you play the D above Middle C; down a semitone if you play the B below Middle C, and so on. Unlike in MIDI In Plays Notes mode, releasing the key has no effect: the original pitch of the arrangement or track is not restored. If you wish this to happen, press Middle C. The effect of these functions is the same as that of transposing the arrangement or selected track using Window > Realtime Play Offsets and Global or Selected Track respectively from the list box at the top of the window, where you enter the transposition interval in cents in the Pitch edit box immediately below; and, in fact, if the Realtime Play Offsets window is open when you transpose the arrangement or track using the keyboard (i.e. as described in the present paragraph), you will see the changes reflected there in real time in the Pitch edit box. As well as transposing through an integral number of semitones, you can use MIDI input to detune the instrument by hundredths of a semitone: by 50 cents (half a semitone), for example, or 150 (a tone and a half). How to do this is explained in 07-05 Remote control using a MIDI controller below. When All MIDI Channels to Selected Track is selected, regardless of the channel of the MIDI input, only the current Melodyne track is affected. When MIDI Channels to Track Numbers is selected on the other hand, messages transmitted on MIDI Channel 1 are assigned to Melodyne Track 1, those transmitted on Channel 2 to Track 2, and so on. By splitting the MIDI keyboard into two zones and assigning each zone to a different MIDI channel, you can therefore control two Melodyne tracks at the same time. You could also copy the same melody to several tracks and control these simultaneously using the same number of tracks of an external MIDI sequencer. The MIDI Portamento Time parameter determines the speed of pitch changes during MIDI control. This parameter only influences the changes that you hear directly when playing. It has no effect upon the arrangement itself, unlike the tool for the editing of pitch transitions in the Editor. The remaining three commands in the MIDI menu cause the Audio-to-MIDI parameters, and MIDI Ports and Remote Control preferences, to be displayed (in the former case) above the toolbar and (in the latter two cases) in separate windows.

As long as the window for the controller definition is open, the assignment to the selected mapping is determined by incoming MIDI events. As soon as the window is closed or moved to the background, the MIDI events produce the defined effects. MIDI keyboard keys or controllers that are assigned to an action can no longer be used for normal playing; in other words, if the lowest keys of your keyboard have been assigned to the actions Start and Stop, for example, they can no longer used to play notes. The specific control devices, such as Mackie Control, have their own definition window, in which normally only the MIDI port and certain actions for userdefinable keys can be entered.

07-06 Preferences

Here we would like quickly to familiarize you with Melodynes Preferences. Open the Preferences window from the menu. The Preferences dialog contains several pages; you choose between them using the drop-down list at the top. In ReWire mode as in Bridge mode a special page appears with additional preference options; the ReWire preferences are discussed in the ReWire section of this manual; the Bridge settings in the section dealing with the Melodyne Bridge.
Hardware On the Hardware page, you will find the following parameters: Device Driver: This is used to select the audio driver. On the Mac, this is usually the Core Audio driver for the integrated or optional audio hardware; under Windows, a DirectX or preferably an ASIO driver for the audio hardware in use. Sample Rate: If the audio driver permits such a choice, you can set the sample rate to be used for recording and playback with this parameter. This value must not necessarily be the same as the sample rate of the audio files used. The best audio quality, however, is obtained if the sample rates are the same.
Buffer Size: This parameter shows the size in bytes of the buffer used to communicate with the audio hardware. Small values result in low latency times; large values in correspondingly greater ones. Please note that short latency times can result in a higher CPU load and the user interface responding more slowly or in dropouts during playback. With DirectX, 2048 is a sensible value for the buffer size, whilst for all other drivers, a value of 512 is recommended. The amount of latency also depends upon the hardware and the sample rate selected: high sample rates result in faster latency times and vice versa. The Ignore buffer underruns checkbox: With this switch, you can order Melodyne when running on very slow computers to tolerate a click during the playback rather than producing dropouts as a result of lack of power. The reason for this parameter is that many audio cards react sensitively to such dropouts and can even cause the computer to crash. Activate this switch if you have the feeling that that is happening; as a rule, however, you will not need this parameter and can safely ignore it. File Cache: This parameter determines how much sample time Melodyne keeps in main memory during playback. If you are using processor-intensive functions (such as altering the pitch of all notes at the same time during playback or permanently altering the tempo of the entire arrangement), small file cache values can lead to a buffer underrun producing dropouts in the audio stream. High values, on the other hand, can impose heavy storage demands. In most cases, 5 or 10 seconds will be a good setting for this parameter.

08-04 Correcting the note separations
Often it is a matter of opinion whether an ornament is regarded musically as a separate note or integrated into the main note; and naturally Melodyne does not always recognize the intended separation of the notes either. With the tool for altering the note separations, the dividing up of the notes can be adjusted correspondingly. Between the notes, you can see vertical lines that show the note separations. If you wish to move the separation between two notes, drag the dividing line with the mouse. If you want to divide a note, as in the Editor double-click on the desired position within the note and a new separation will be introduced. At the same time, both parts of the note will ascertain their own pitch centers. Melodyne attempts to ascertain which is the best place in the note to make the division. For this reason, it can happen that the dividing line does not appear exactly where you have clicked within the note. You can however drag the dividing line and move it to the place where you want it. If you press [Alt]+[Space] on the computer keyboard, the selected note will be played exactly in the area between its separations, so you can easily check whether or not the separation occurs in the desired place. If you wish to remove the separation and unite two notes, double click the dividing line between them. If you wish to unite more than two notes, select them with a
selection rectangle and double-click one of them. These will then unite to form a single note. Tip: a convenient way of examining and editing the note separations quickly is to step through them with the arrow keys on the computer. Position the playback cursor before the first note and press the right arrow key. You will hear the first note right up to its separation position. You can go through the notes one by one in either direction using the arrow keys, listening to each one in turn. When you hear two notes that ought to be separated, press the down arrow key, and Melodyne will separate the note heard most recently in the position it considers most likely. If the separation does not occur in the correct place, drag the dividing line with the mouse and move it to the correct place. If when you are going through the material you hear two separated notes that actually should be united to form one note, press the up arrow and the two notes last listened to will be united.

Another way of defining the tonality and mode is to use the drop-down list boxes in the Inspector. Here any of the church modes as well as other scales not forming part of the Major/Minor system can be selected. The tonalities are arranged in accordance with the circle of fifths to make it easier to switch between closely related keys. To use anything other than concert pitch (A=440Hz), enter the desired offset in cents. Double-clicking on any of the gray beams redefines that note as the tonal center without altering the key signature. If the key were C major, clicking on the note E would select the Phrygian mode with E as the new tonal center. In the popup windows at the top, E would be displayed as the tonality and Phrygian as the mode. Clicking on the Key Buttons in the left margin of the window also changes the tonality but this time the mode remains unchanged e.g. C Ionian to E Ionian. If you perform the same action with the Shift key held, not only does the tonality change but also the mode, the effect (depending upon which mode you start from) being to toggle between major and minor. An analogous changes takes place if the original scales is neither major nor minor. In this case the steps of the current scale move a minor third upwards or downwards if the current scale has the requisite third. The actions in the Define Tone Scale dropdown list next to the toolbar on the right of the screen help you locate the most probable key automatically. Unclear note assignments in relation to the scale can be improved. Find Scale with Standard Tuning considering Tuning Offset ascertains the tonality or mode and corrects the note assignments. Here any deviation from standard tuning [i.e. concert pitch (A=440Hz)] is detected and used to improve the assignment of notes to a scale. The scale and note assignments actually used, however, still relate to concert pitch. The same happens implicitly during the automatic detection of the melody. Redefining the pitch is nonetheless useful, as otherwise notes may be divided erroneously or assigned to the wrong degrees of the scale in the course of later manual editing. After conducting this type of rationalization of note divisions and note assignments, Melodyne can often find a more suitable scale.
Find Scale with Standard Tuning works like Find Scale with Standard Tuning considering Tuning Offset except that concert pitch alone is used to determine the scale and note assignments within it. Melodyne does not look to see whether a better match might be found by reinterpreting the melody in the light of a different pitch (i.e. where the frequency of A is higher or lower than 440 Hz and that of all other notes similarly offset). Use this function, when you are confident that the instrument was correctly tuned (i.e. to concert pitch) and played in tune. Find Tuning Offset from Standard Tuning works like Find Scale with Standard Tuning considering Tuning Offset except that the deviation from concert pitch is stored in the melody definition. This function should only be used when the deviation is significant. The point of storing this information is that otherwise when you first load a melody for which an offset has been defined, the new tuning might be adopted by the newly created arrangement. To prevent this happening without your being aware of it, a dialog box appears asking you whether you wish the detected offset to be used for the definition of the scale. Find Note Assignments for Current Tuning. When you have already defined the scale and pitch, this function will ensure that notes are correctly assigned. Reset all Manual Note Assignments. Whenever an existing note assignment has been modified by the user, the default behaviour is for such an assignment to be retained throughout any subsequent automatic note assignment operations. Whilst no reassignments occur immediately when this command is used, any subsequent automatic note assignment operations will begin by wiping the slate clean and the manual assignments will therefore be lost. Tone Scale Panel. The Tone Scale Panel can be used for the more precise definition of the tuning system (or temperament). The temperament you define here will apply to the melody but not the entire arrangement. Please note that the Scale Panel is context-sensitive. The tuning system displayed here will be that of whichever edit, definition or arrangement window is currently in the foreground. When any of the first four functions are used, you can tell Melodyne that notes falling between the notes of the scale as defined should snap to the nearest member of the scale. You can specify the catchment area (Diatonic Snap Range for Note Assignment) for the snap function as a percentage. If the value is set to 100%, all notes will snap to the nearest member of the defined diatonic scale. If

08-09 Define Pitch Transition
the value is set to 50%, a note will be assigned to the next diatonic scale degree if its exact pitch is more than halfway in the direction of the neighboring note. If the value is set to 0%, no snapping will occur and notes lying between members of the scale will be left alone. The default value is 40%. Note that when you change the scale using either the key buttons on the left or the drop-down lists at the top of the screen or the Tone Scale window, notes will not automatically be reassigned to degrees of the new scale. To reassign them, you must then use function (Find Note Assignments for Current Tuning). When the first three commands are used, on the other hand, notes are automatically reassigned to the newly defined scale. Further recommendations regarding key definition and scale assignments: the main object of defining the tonality and mode is that it makes it possible to distinguish between notes forming part of the scale (diatonic notes) and others (chromatic notes), which are handled differently by the Scale Snap function as well as when melodies are dragged and dropped into the Edit Window and their tonality is automatically matched to that of the arrangement. before defining the tonality, mode and note assignments, the results of the pitch recognition and note separation functions should be checked carefully and if necessary corrected. Only then should you begin with the Define Pitch Assignment tool. Otherwise, if you were to split a note after having assigned it manually to one of the degrees of the scale, you might have to do so a second time, as corrected notes are automatically reassigned. if you already know the tonality and mode of the melody, enter it manually and then invoke function (Find Note Assignments for Current Tuning) if you wish the tonality to be analysed automatically, use function (Find Scale with Standard Tuning considering Tuning Offset) after using Find Tuning Offset from Standard Tuning or Find Note Assignments for Current Tuning, listen to the melody again. The notes in these modes are quantized to the assigned pitches. Correct any false assignments manually.
Melodyne can recognize whether a gradual transition in pitch exists between two notes or whether the following note represents in this respect a new start.
Depending upon which is the case, the phrasing and legato of a melody can be developed in a musical way. Whether a gradual pitch transition between two notes exists can also be decided in the normal Editor after the detection with the Pitch Transitions tool. However, these changes only apply to the current instance of the melody in a specific arrangement and are not be included in the definition of the melody for general use. The Define Pitch Transition tool offers the same functionality as the equivalent tool in the Editor except that the changes here are stored in the MDD file and therefore affect every new use of the audio file in an arrangement.