Celemony Software Melodyne Sound Library
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Melodyne Sound Library Manual Author: Uwe G. Hoenig Translation: Ewan Whyte
Celemony Software GmbH Valleystr. 25, 81371 Mnchen, Germany www.celemony.com email@example.com
The manual and the software described therein are supplied under formal license. They may be used and copied only under the conditions of this licensing agreement. The data contained in the manual only serves for information purposes and may be changed without prior announcement. The information contained in the manual does not constitute a legal obligation of Celemony Software GmbH. Celemony is not responsible for any eventual faulty or inaccurate information contained in the manual. The manual and any parts thereof must not be reproduced or transmitted without the prior and explicit permission of Celemony Software GmbH. All product and company names are registered trademarks or brands of the respective companies. Apple, the Apple logo, Mac, Macintosh and Power Macintosh are registered trademarks of Apple Computer, Inc. Windows 98, Windows ME, Windows 2000, Windows XP and DirectX are either registered trademarks or trademarks of Microsoft Corporation.
Celemony Software GmbH, 2007 All rights reserved
Melodyne sound library
The Melodyne Sound Library
Many thanks for purchasing the Melodyne Sound Library and a warm welcome to one of the highest quality and most flexible sound collections for music production currently available! Each title in the Melodyne Sound Library is an archive containing many samples in a hierarchical and thematically arranged directory structure. Aside from the very high quality of the recordings, there is one thing that distinguishes the Melodyne Sound Library from other collections of samples on the market: all the recordings in the Melodyne Sound Library were conceived, produced and edited specially for use within Melodyne. This also applies to the 'detection' of the audio material; all the samples of the Melodyne Sound Library have already been subjected to this detection process and the results of the detection checked, corrected where necessary, and optimized. As a result, you have at your disposal very highquality samples that adapt fluidly to the requirements of the musical context and the tempo, pitch, scale and other characteristics of which can be modified at will. In this short introduction, we will explain how to install the Melodyne Sound Library, authorize it, and use the samples it contains. If you don't already know how to edit and vary the audio material, please consult the Melodyne User Manual, where you will find a multitude of suggestions and tips that will help you to get the most from your Melodyne Sound Library. We wish you every success making music with Melodyne and the Melodyne Sound Library! Best wishes, All at Celemony
Installation and activation
Installation and activation of the Melodyne Sound Library
This guide to activating your software only applies to Melodyne cre8 or Melodyne studio from Version 3.2 upwards. If you are using an older version of Melodyne, please follow the instructions in your User Manual. The Melodyne Sound Library is the product of long sessions in the studio and a great deal of editing and optimisation in postproduction. We hope you will understand therefore why it is copy-protected and has to be activated. To activate your library, please proceed as follows: copy the library file from the CD/DVD to any location you like on your hard disk launch Melodyne (using an administrator account if using Windows) choose > Window > License to open the Activation Assistant You will see the status page confirming that Melodyne has been successfully activated. Click the "Activate Sound Bank" button. The sound bank activation page appears from which you can choose whether you wish to activate an MSL or a Liquid sound bank (see below). Select the option for MSL and click "Continue". The MSL activation page will appear. Here you must first enter the serial number of your MSL title. You will find this in the User Manual of your MSL. Now choose whether you wish to activate the MSL title online or offline.
The symbol for a Melodyne Sound Library
After selecting "Online Activation", click "Continue". On the Mac, you will then be asked to enter your Administrator Password. This is because Melodyne needs to store a license file derived from myCelemony in the root section of your computer. As soon as your computer has received the requisite activation data from the Celemony server, the Assistant will display the Status page again, where this time you will see your newly activated MLS title. You can then close the Assistant and start work with your MSL.
Offline activation involves 3 steps: 1. exporting an activation request file from the activation assistant 2. transferring this file to a computer that is capable of connecting to the Internet and uploading the file to myCelemony 3. downloading the activation file and dragging it to the activation assistant and dropping it. If you have opted for offline activation, the "Export request file" page will appear:
Export the file by drag 'n' drop to your hard disk and transfer it (for example, using a USB flash drive) to a computer with Internet access. The request file is a small HTML file with a local web page that should open your browser when you double-click on it. If it fails to do so, open the file manually from your browser (the relevant command should be called "Open Page" or something similar). On the local web page displayed, you will see a button. Click on this to establish the connection with myCelemony and transfer the data required for the activation. As soon as the data has been transferred to the myCelemony server and processed, myCelemony will offer you the activation file to download. Clicking the link will commence the download. Where exactly the downloaded file is stored on your computer depends upon your browser settings. Please check these, if you cannot find the file after downloading it. Take this file to your music computer and launch Melodyne. When the activation assistant appears, simply drag 'n' drop the activation file into its window. You will be asked again for the administrator password of your computer, whereupon the assistant's status page will appear to confirm that the activation has been successful. An MSL activation applies to all the products registered on your myCelemony account that are capable of reading MSL sound banks. That is why it makes sense to use a single myCelemony account to register all your Celemony products. The same applies to offline registration. You cannot, and should not try to, open a new myCelemony account for an MSL title. The MSL
should be registered to the same account as your copy of Melodyne.
Once the activation is successful, the activated MSL title will be displayed on the status page of the activation assistant
Double-clicking the entry for an activated sound bank has two possible effects: - if Melodyne does not yet know where the sound bank is stored, a file select box opens, which you can use to localize the sound bank; - if Melodyne already knows where the sound bank is stored, double-clicking opens the Melody Manager window from which you can access the sound bank's samples.
If you have no access to the Internet, you can request an activation by post from Celemony. Proceed as described above under "Offline Activation" and export the request file for the activation. Burn the file onto a CD and sent us the CD. You will then receive back from us an activation file on CD, which you will then be able to import exactly as though you had downloaded it from myCelemony. Please do not forget to send us your address! Our address is: Celemony Software GmbH Valleystrasse Munich Germany If you have been working with the demo version of a title from the Melodyne Sound Library and have used samples from it in your arrangement, you do not after purchasing the full version have to worry about reassigning samples. As soon as the full version is activated, Melodyne will automatically change all references to the demo version to references to the full version allowing you to continue working undisturbed.
Please note that files from a Melodyne Sound Library 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 to another computer, the relevant library must also be available and activated in the Sound Library window there as well (though it does not matter where on the second computer the requisite library file is stored).
Working with the Melody Manager
The key component when working with samples from the Melodyne Sound Library is Melodyne's Melody Manager, which you can access via the File menu or with the shortcut [Shift]+[Command]+B. The Melody Manager is a file browser that displays only sample formats accepted by Melodyne, folders, and Melodyne arrangements, as well as offering a large number of very useful functions for working with samples. With the Melody Manager, you can navigate freely through the directory structures of your hard disk(s) as well as through the hierarchically arranged samples of the Melodyne Sound Library. At the same time, it is also a very powerful arranging tool: it displays the musical content of your samples and lets you hear them; you can also select parts of individual files as small as individual notes and drag them to the desired position in your arrangement.
The Melody Manager window
Samples are represented by a Play button that you can click to hear the file. Clicking the button a second time stops the playback. As well as hearing the samples, you can see their content. You can make the window wider for this purpose and with longer files set the last column to display as much of the visual representation of the sound as possible. You can select the form of representation from the 'Show' list box at the top of the Melody Manager. You can display:
only the name
only the waveform
only the notes
the notes and the waveform
or the typical 'blobs'.
You can also commence playback of an audio file by doubleclicking the waveform/note display (stopping it again with a single click) or start/stop playback of the selected file using the space bar. If you start playback with a double-click, playback begins from the position at which you clicked. If you select a passage within an audio file by dragging with the mouse and then doubleclick the selection, the passage selected will play back. Whichever representation mode you select, the pointer will indicate the playback position. You can select an entire file by clicking the title bar or select parts of it by dragging with the mouse; if notes are displayed, your selection is always placed at the borders between notes and you also hear precisely the notes selected.
Selected notes in an audio file
From the "Play" list box on the right, you can change the playback mode: "Normal" plays back the selected audio file once only; "Cycle" plays back the selected audio file in an endless loop, which is useful if you want to hear how it sounds cycled; whilst "Sequence" causes all the audio files in the current folder to play back one after another, which is obviously easier (when you want to hear the contents of an entire folder) than selecting and commencing playback of each file individually. The small rotary control to the right of the "Play" list box is the volume knob.
The "Show" and "Play" list boxes in the Melody Manager with the volume knob on the right
For greater ease when arranging, you can either drag selected notes or an entire file (by dragging the title bar) into your Melodyne arrangement. The ability to drag extracts as short as individual notes allows you to create audio collages, where an entire melody, for example, is assembled from notes played on different instruments. You can also restructure a performance, or create a beat out of individual drum strokes and fragments of loops. With Melodyne, doing this type of thing is very easy.
You can insert entire samples (by dragging the sample bar) or selected extracts into your arrangement or the Editor
The Melodyne Sound Library can contain multi-voice ensembles composed of different voices. The samples for such ensembles are found in a sub-folder, which always contains a small arrangement as well, by means of which you can audition the complete ensemble. Please note that you cannot drag the arrangement symbol itself but only the individual voices one by
Adapting samples automatically
one into your arrangement or the Editor. You can, of course, by double-clicking its entry, open an arrangement alongside the one you are working on and transfer samples from one arrangement to the other by copying and pasting.
The symbolized Arrangement allows the auditioning of a multivoice ensemble in the Melody Manager
Adapting samples automatically to the tempo and scale of your arrangement
Naturally Melodyne offers you in connection with the Melodyne Sound Library all the advantages of almost infinitely elastic audio material: the tempo, pitch and scale of all the samples are variable and adapt automatically to your project as soon as you drag them (as described above) into it. For the adjustment to be performed automatically, you must observe the following points:
For the tempo of a sample to adjust automatically to the tempo of, and any tempo changes in, your project, you must check the Autostretch box in the Transport window or the Autostretch item in the Grid selection menu before dragging the file from the Melody Manager into the arrangement or Editor.
The Autostretch option can be accessed from the Transport window or the Grid menu
Note that the grid value selected affects the metric position at which you can insert the file. If need be, select a finer grid value.
For the pitch and scale of a sample to adjust automatically to the settings for those parameters in your project, you must activate the Scale Snap option in the bottom left-hand corner of the Editor before you drag the file into it. You can tell whether or not the tempo or scale of a sample is being adjusted to match those of the project into which you are about to insert it by reading the text that appears at the top of the rectangle enclosing the sample in the course of the drag 'n' drop operation; there you will see either 'Using Original Tempo' (in blue) or 'Adapting Tempo' (in red); and either 'Using Original Pitch' (in blue) or 'Adapting to Tone Scale xyz' (in red).
The Scale Snap function ensures that an imported sample automatically adjusts to the scale you are using
Note that the sample will only adjust to the scale if you drag it into the Editor; not if you drag it into the Arrangement window.
Whether or not the tempo and/or scale of a sample are being adjusted to match those of the project is indicated by the text in the rectangle
Naturally you can also modify the tempo, pitch and scale of a sample at any time subsequent to the drag 'n' drop operation using Melodyne's powerful editing functions. At the top left of the Melody Manager window, you will find two additional list boxes: one is labelled "Path" this can be used to return to a particular folder in the hierarchy and the other "Actions". The latter allows you to perform various operations on the audio file currently selected such as: Open in new Arrangement (like Open in Melodyne's File menu) results in the creation of a new arrangement into which the selected audio file is inserted. Double-clicking on the name of an audio file has the same effect (unless you have selected the option Double-clicking on a file opens the MDD Editor in the Preferences dialog) Add to current arrangement (like Import Audio File in Melodyne's File menu) causes the selected audio file to be
Checking the rhythm and adapting to the groove
inserted into the current arrangement on a new track at time position zero without tempo adjustment The other items in this menu are irrelevant to the Melodyne Sound Library. N.B. Remember that the MDD files belonging to samples from the Melodyne Sound Library have already been optimized; they require no further editing, which is why it is impossible to edit them.
Since you have the right to expect more from a high-quality library than robotic material that has been quantized to death, the samples in the Melodyne Sound Library retain not only the pitch but also the groove of the original musical performance. This special rhythmic feel can give your arrangement the extra touch of authenticity and vibrancy that makes the difference between an outstanding production and one that is merely good. Naturally, however, a certain degree of sensitivity and care is called for here. When combining different samples, you should always pay attention to the way they interact rhythmically and the groove of the sample combinations. Where samples clash or are out of step, Melodyne offers a wide variety of powerful functions to overcome the problem and ensure that the various tracks gel. First select the track or a passage thereof that you wish to correct and open the Quantize Time window from the Edit menu;
you should do this while the tracks to be edited are playing back (you can always stop and restart the playback while the window is open). While the macro window is open, you can 'straighten out' the The macro window for time correction problematic samples with a variable degree of intensity and on the basis of different note grids. Melodyne's audio quantizing is very sensitive and intelligent in its operation try out various note grids and intensities to get a sense of their effect and to get closer to the desired timing ideal. You can hear all the changes you make in real time. In addition to a basic note grid, you can select from the list box at the top right a reference track for the quantization; both options will then work together to adjust the material to the reference track with the degree of intensity desired. You could, for example, adjust the groove of a rhythm guitar part to that of a percussion track or vice versa. When you are satisfied with the results, quit the window with OK. You can always reverse the effects of the quantization later with the Undo function. Finally we would like to emphasize once more that this short guide was only intended to introduce you to the most elementary and essential editing options! Consult the Melodyne User Manual to learn more about the unique possibilities Melodyne offers for the handling of audio material.
Offline activation involves 3 steps: 1. xporting an activation request file from the activation assistant e 2. ransferring this file to a computer that is capable of connecting to the Internet t and uploading the file to myCelemony 3. ownloading the activation file and dragging it to the activation assistant and d dropping it. If you have opted for offline activation, the Export request file page will appear:
Export the file by drag n drop to your hard disk and transfer it (for example, using a USB flash drive) to a computer with Internet access. The request file is a small HTML file with a local web page that should open your browser when you double-click on it. If it fails to do so, open the file manually from your browser (the relevant command should be called Open Page or something similar). On the local web page displayed, you will see a button. Click on this to establish the connection with myCelemony and transfer the data required for the activation. Then enter the necessary data in the customer profile of your new myCelemony account and confirm your entries by clicking Continue Activation. If you already have a myCelemony account, you do not need to open a new one and doing so will only cause confusion. Instead, click the link on the Customer Profile page that takes you to the Log In page, and then log in using your existing user name and password. Your new Melodyne will then be registered to your existing myCelemony account.
01-04 Temporary Activation
As soon as the data has been transferred to the myCelemony server and processed, myCelemony will offer you the activation file to download. Clicking the link will commence the download. Where exactly the downloaded file is stored on your computer depends upon your browser settings. Please check these, if you cannot find the file after downloading it. Take this file to your music computer and launch Melodyne. When the activation assistant appears, simply drag n drop the activation file into its window. You will be asked again for the administrator password of your computer, whereupon the assi stants status page will appear to confirm that the activation has been successful.
Once you see this page, you know the process of activation has been concluded. You can now close the assistant and work with Melodyne without restriction.
If you cannot decide right away which form of activation to use, Melodyne allows you time to think about it: after the first installation, you can use the software for ten days after entering the serial number, which makes it possible to begin work immediately. Temporary activation is only possible after the first installation of Melodyne on a computer. After selecting this option, click Continue. The assistant will then inform you that Melodyne has been activated for a period of ten days. You can now close the assistant and use Melodyne. We recommend, however, that you undertake the definitive activation as soon as possible. Otherwise, the temporary activation period is liable to expire at precisely the wrong moment
If you are selling your computer or no longer wish to use it for making music, you should deactivate Melodyne. (Obviously this is only possible if Melodyne has been activated on the computer, not if you are using an iLok to activate it.). Once you have deactivated Melodyne, your myCelemony account can be credited with a new activation. Deactivation is performed using the activation assistant. Please note that you will not be able to launch Melodyne again after the deactivation! You can, however, get started again with a deactivated computer by activating Melodyne a second time on it. This assumes that another activation is available on your myCelemony account
In the case of online deactivation, a new activation is automatically credited to your myCelemony account. From the Window menu, select License to open the activation assistant. You will see the status page confirming that Melodyne has been successfully activated. Click the Deactivate Melodyne button. The deactivation page appears. Select there the online deactivation option and click Continue. Now you must enter the administrator password for your computer and confirm a security question. After a short pause, a dialog box will inform you that the deactivation has been successful. When you close this dialog box, you will automatically quit Melodyne. Your myCelemony account will also automatically be credited with one activation.
When you select offline deactivation, you must upload the data from a small HTML credit file from any computer connected to the Internet to myCelemony; only then can your myCelemony account be credited with an activation credit, so please do not forget this important step. From the Window menu, select License to open the activation assistant. You will see the status page confirming that Melodyne has been successfully activated. Click the Deactivate Melodyne button. The deactivation page appears. Select there the offline deactivation option and click Continue. First you must enter the administrator password for your computer and confirm a security question. The page for the export of the credit file will then appear:
04-01 Tools for editing pitch
The first tool in the series should have a familiar enough look to it: its the Edit Pitch tool we met earlier. There, however, it was a context-sensitive form of the Main tool: it appeared as you moved the arrow over the center of a note and disappeared just as rapidly when you moved it away. But whereas the Main tool may be more useful if you are planning to edit the timing as well as the pitch of a note, the dedicated Edit Pitch tool offers a wider range of functions for correcting intonation problems.
When this tool is active, at the semitone nearest to each blob, you will see a blue box containing an outline of the same blob. This ghost blob indicates where the real blob would be if the note to which it refers were perfectly in tune. To correct the tuning of a note, simply double-click on the blob with the Edit Pitch tool and it will snap to the position indicated by the outline (i.e. the ghost blob). To quantize the pitch of multiple notes in this way, select them and double-click any note in the selection. As with the Main tool, Melodynes scrub mode is activated as you are moving the note, which means that if you move the tool to the right or left as you are dragging a note, you can hear the waveform at the points through which it passes. [If you find this distracting, select Edit > Preferences > Other and uncheck Monitor Note Pitch on Editing.] Next to the toolbar, you will see a read-out of the exact pitch (to the nearest cent) and frequency of the selected note: you can see, for example, that your A (a) is 14 cents (hundreds of a semitone) flat and oscillating at 436 Hz instead of the 440 required by concert pitch.
The name of the note and the number of cents (if any) adrift of concert pitch are displayed in text boxes, allowing you to type in the desired values; you may find this easier than fiddling around with the mouse. When the Edit Pitch tool is active, there is another easy way of generating a thickened line, (i.e. a second part moving (almost) parallel to the first at some interval such as a third, sixth or tenth) or with further editing harmony parts that move independently (e.g. in contrary or oblique motion to the melody). Simply select the notes to which you wish to add harmonies, and hold [Shift]+[Alt] as you drag them upwards or downwards the required number of semitones. What happens when you do this is that the selected notes are copied to a parallel track and then transposed by the desired amount. When you do this, slight pitch and timing variations are introduced to make it sound like two people singing in harmony, rather than a copy, and to prevent comb filter effects. If, however, you would prefer an exact copy (as you might if you were copying percussive material)
select Edit > Paste Special > Copy and Paste Selection to a Parallel Track (or drag the notes with [Shift]+[Alt] in the Arrangement window). When this procedure is used, no random pitch or timing variations are introduced. When the Tone Scale snap function is active, you can a create a thickened line that alternates between major or minor intervals as necessary to conform with the selected key. As you move the Edit Pitch tool to the end of a note, its shape changes and it becomes the Pitch Transitions tool. When singing or playing the violin in particular, musicians often glide from one note to the next. This is called portamento. Melodyne indicates a portamento transition by means of a blue line linking the two notes affected. If this transition is deactivated, the pitch curve from this note to the next is cut through and is not adjusted when adjacent notes are transposed. If ever, for creative reasons or after altering the pitch of a note, you wish to introduce a portamento, double-click the end of the first of the two notes or activate with the first note manually the Transition checkbox and drag the blue line that appears linking them upwards (for a slower portamento) or downwards (for a faster one). Transitions between the adjacent notes of an entire selection can be created and edited simultaneously in the same way; first make the selection, then create and/or edit the transition between any pair and similar transitions will appear throughout the selection. If you click and hold the Edit Pitch tool, two sub-tools appear beneath it, these being the Pitch Modulation and Pitch Drift tools.
The Pitch Modulation tool can be used to augment or diminish the amount of vibrato applied to the selected note or notes. The amplitude of the vibrato applied to this note, for example,
. can be reduced to nothing with a simple drag of the mouse. I f you carry on dragging in a downward direction, you can even phase-reverse the vibrato. To increase the amplitude of the vibrato of a selection, click on any note within it and drag the pointer upwards. The Pitch Modulation tool provides an interesting way of modifying one crucial aspect of the musical expression of a performance; not only can you tone down the vibrato throughout the entire track (or wherever it descends into a tasteless warble), but you can also add it in areas where a performance perhaps lacks lustre or seems thin. Double-clicking a note using the Pitch Modulation tool toggles between the original vibrato and no vibrato. You can read the existing vibrato intensity from the box next to the tool bar or enter a new value if you wish. The second tool down is the Pitch Drift tool. Pitch drift, you will remember, is the term reserved for divagations in pitch other than vibrato, the difference being primarily that vibrato is faster. The Pitch Drift tool works like the same parameter in the Correct Pitch panel with the added possibility of increasing or reversing the pitch drift. This makes it a more powerful tool for redrawing the pitch envelope of a note. Double-clicking a note using the Pitch Drift tool toggles between the original drift and no drift. You can read the existing drift intensity from the box next to the tool bar or enter a new value if you wish. Note: Whenever you select one of the Pitch tools from the toolbar, the pitch curve will be superimposed on the note blobs, even though you may have unchecked Always Show Pitch Curve in the View menu. The context-sensitive Pitch Transitions tool is also available with the tools for Pitch Drift and Vibrato. Tip: It can happen as a result of drift or vibrato editing, the cutting up of notes and transposition of the parts that discontinuities appear in the Pitch Curve, introducing a harshness or jerkiness to the transitions. That may be the effect you intend, but in the event that it is not, you can use the Pitch Transition tool to
The Definition menu
Using the Reset Detection to commands, you can tell Melodyne to treat a recording as melodic, for example, when its own analysis of the material may have concluded that it was polyphonic, or rhythmic where its own analysis may have concluded that it was melodic. As a result, Melodyne adopts a whole swathe of different parameters or options relating to things such as the type of note separation, the type of notation, the interpretation of note transitions, the choice of playback algorithm and the parameters thereof which is obviously far faster than altering the same parameters or options manually one by one. The Reset Detection to commands are therefore macros that impose new settings for the interpretation of the analysis results and the playback algorithm with a definite purpose and in a single go. The command Redetect Audio File triggers a fresh analysis of the material based upon the current settings, the default being automatic detection. If, for example, you wish to see what happens if you change one of the detection parameters, select Detection > Select Definition > Select Detection Parameter Set, make the desired changes, and select Definition > Redetect Audio File for them to take effect. NB: the commands in the Definition menu that we have just discussed are also available from context menus in correction mode (see below) and the MDD editor. Correcting the automatic detection Melodynes analysis (or detection) of an audio file when it is first loaded is the basis for all subsequent editing. It involves a determination as to whether the material is tonal, polyphonic (Melodyne studio only) or percussive, as to where each note ends and the next begins, and as to the pitch and amplitude of the signal at any point in time. Usually, the results are highly accurate, but with certain types of material, things can occasionally go wrong: t can happen that the fundamental does not sound with sufficient clarity, I causing Melodyne to mistake the first harmonic for the fundamental itself (with the result that the note appears in the score as well as in the Editor an octave higher than you expect); the exact opposite can also happen: you have a frog in your throat, perhaps, and Melodyne thinks you were singing Middle C when you thought you were singing the C an octave above. Errors of intervals other than an octave, incidentally, are very rare. ometimes notes are not cleanly separated i.e. two notes appear as a single S note
elodyne sometimes confuses tonal material with rhythmic and vice versa: one M could think of certain passages of scat (jazz singers imitating instruments), where different people could have a legitimate difference of opinion as to whether it was tonal or rhythmic. The significance of the decision is this: when material is interpreted as rhythmic: all the notes are displayed at the same pitch; when it is transposed, the formants are also transposed; and no manual editing of formants is possible. Such errors can be corrected manually. For this purpose, Melodyne offers a special edit mode, which you enter by checking the option Correct Detection in the Definition menu and which causes the blobs to turn yellow and the pitch curve to appear in bold red.
05-07 Saving audio
Usually, you will want to save your entire arrangement, which may be derived many different audio files; these, needless to say, will remain untouched, since Melodyne edits non-destructively, implementing in real time whatever changes you have made in the course of editing. An arrangement in Melodyne is therefore equivalent to a session or song in other sequencers and encapsulates an entire multi-track production in a single file. Sometimes if, say, you wish to export to a different sequencer vocal tracks edited, or vocal harmonies generated, using Melodyne you may prefer to save audio tracks individually. If so, select File > Save Audio. The Save Audio dialog that opens, you will note, bears a striking resemblance to the Save MIDI dialog we have just described.
The Save Audio dialog
From the list boxes in the first line, you can select the audio format, sampling rate, audio resolution (wordlength) and between interleaved and split stereo formats; an interleaved file contains both the left and right channels, whereas in split stereo format a separate file is assigned to each. Note that if you are using plug-ins in the mixer, you cannot select a sampling rate other than the one selected in the Preferences dialog. The options in the Range list box are for the most part self-explanatory. f you select Entire Arrangement, I everything from the beginning of the first note of the arrangement to the end of the last will be saved. f you select Between Locators, the length will be determined by the current I position of the left and right locators.
f you select As Reference Track, a new list box opens to the right of the Range I box from which you are invited to select a reference track, the beginning and end of which will then serve the same function as the left and right markers in the previous option; in other words, data will be saved from all the active channels, but only where it coincides with the reference track. This is useful when you are working in another application and wish to export a passage for editing by Melodyne and then restore it to exactly the same slot. f you select From the Start of the Reference Track to the End of the I Arrangement, the beginning of the range will be as per the previous option but tracks continuing beyond the end of the reference track will not in this case be truncated. f you select Individual Range for Each Track, each track will be exported with a I separate starting point and length. This is useful when you are editing samples of different lengths within the same arrangement. f you select Individual Audio File for Each Marker Region (see Navigating with I Markers), the files will derive their names from the markers. This option is only available when you are exporting audio data from a single (usually long) track. elodynes Audio Export window also offers the option of exporting the audio M material of a track blobwise; for each detected or manually produced note, Melodyne creates a separate audio file on the disk. Provided this is one-part melodic material and one extract defined as a note does not contain more than one pitch, a MIDI root key is automatically written to the files produced. This makes it possible to map the audio files automatically to the correct keys when they are used in a sampler. When exporting, give a name to the folder, and the names of the individual files will then consist of the name of that folder followed by a number (which is incremented with each successive file).
Between the blue lines, different tempo settings are possible
Above each blue line, in the Bar/Time ruler, you will see a time signature and tempo indication. To change any of the values displayed, double-click on it and type in something different.
By typing in the desired values in the Bar/Time ruler, you define a different tempo and/or time signature for each segment
You can activate Variable Tempo Editing mode separately for the Arrangement and Editor. When it is active, you can enter values at any time in the Bar/Time ruler. Dragging the grid in the Editor is only possible when the Main tool (the Arrow) is selected. The Change and Define Tempo submenus Further options for altering or redefining the tempo within a recording are provided by the Change Tempo (auto-stretch) and Define Tempo submenus accessed from the Edit menu. When you redefine the tempo, all that happens is that the gridlines move; the tempo of the audio itself is unchanged. As you will have noticed, the two sub-menus have many commands in common: D ouble Tempo and Half Tempo are self-explanatory qual Tempo is an Undo function: it removes all the tempo changes you have E introduced in the course of editing so that the same tempo obtains throughout the arrangement S ame Tempo for Following Bars has the same effect, except that tempo changes prior to the current bar are preserved ame Signature for Following Bars preserves all time signatures prior to the S current bar but deletes any that follow qual Beats in Current Bar and Equal Beats in Following Bars are also Undo E functions and self-explanatory mooth Tempo Changes is used to implement an accelerando or rallentando; in S other words, the tempo increases or decreases gradually between the two tempo indications instead of changing suddenly. S et Tempo Zero to Sound Zero is used to synchronize the first beat with the beginning of the audio. For obvious reasons, this command only appears in the Define Tempo sub menu. erive Tempo from Audio File Duration. This command in the Define Tempo D sub-menu of the Edit menu sets the tempo of the arrangement to ensure that the audio file lasts an integral number of bars. The time signature currently
selected is adopted. This command is useful, for example, when you know the recording lasts an integral number of bars but this is not the case with the tempo currently detected. et Bar Duration to Current Selection. This command in the Define Tempo S sub-menu of the Edit menu sets the tempo and the beginning of the bar in such a way that the currently selected notes comprise one bar exactly. The time signature currently selected is adopted. This command is useful, for example, to establish at the beginning of a recording as accurate a starting value for the tempo-tapping as possible. empo from MDD applies the tempo detected for the selected audio file to the T entire arrangement You can also import tempos: I f you select Tempo from MIDI File, the Open dialog appears and you can select the file containing the desired tempo definitions. T he Tempo from MIDI Clock option will be greyed out unless Melodyne is running in slave mode for MIDI clock (i.e. when a MIDI port has been selected from the MIDI Clock In list box of the MIDI Ports page of the Preferences dialog and Receive MIDI Sync option is selected in the Sync list box in the bottom lefthand corner of the Transport Bar). When you select Tempo from MIDI Clock, the recording of the tempo progression will be activated and Melodyne will wait for playback to commence in the host application. Once playback has finished, the recorded tempo progression will be used for the current arrangement until such time as the process is repeated.
Fix to Arrangement. When you do this, not only whatever Global offsets you have selected but also the offsets you have chosen for the Selected Track will be applied to the arrangement and track respectively. It is also possible to exclude individual tracks from the global changes so as to exclude the drum track, for example, from a global transposition. In this case, select the drum track; open the Realtime Play Offsets window; choose Selected Track from the list box at the top; and clear the Globals checkbox (which is checked by default). When you do this, the selected track will no longer react to global changes in the Pitch or Formant realtime play offsets. You can also modify the playback parameters via MIDI, either by transposing semitone-wise by playing variations with the MIDI keyboard or continuously via MIDI controller (see 06-05 MIDI In options and 07-05 Remote control using a MIDI controller). Note: You can now enter percentage values (e.g. 50 %) in the Tempo fields of the Transport bar and of the window with the real-time parameters as well as in the Time ruler (if Variable Tempo Editing Mode is selected). The percentage is in each case that of the last applicable value; for example, if the tempo set is 100 BPM, typing in 50 % will reduce it to 50 BPM. If you want to double it (so that it returns to 100 BPM), enter 200 % (not 100 %).
06-03 Navigating with markers
By creating markers each time at the current locator positions, you can divide the file into regions either to facilitate navigation or with a view to saving parts only of a selected audio file as described in Section 05-06 Saving Audio - Individual Audio File for Each Marker Region above.
To create and name a region, select Navigation > Create Marker and enter the name in the edit box that appears in the Bar/Time ruler.
A marker region in the Bar/ Time ruler
06-04 Arranging by copying and pasting
You can move the cursor and left locator instantly to the start, and the right locator to the end, of any defined region in either of two ways and delete Markers: avigation > Scroll to > opens a drop-down menu from which you can select the N region. moves the playback cursor to the start of the selected region, scrolling the display if necessary to reveal as much of it as possible without altering the horizontal resolution. avigation > Zoom to goes one further, increasing or decreasing the horizontal N resolution to ensure that only the selected region is displayed. avigation > Delete Marker deletes the left and right markers and with it not the N contents of the region but the region itself. In other words, if you have defined a region called Chorus running from bar 17 to bar 26 and you select Navigation > Delete Marker > Chorus, the word Chorus will disappear from the Bar/Time ruler and the region Chorus will no longer be available for selection from the Zoom to or Scroll to drop-down menus, but bars 17-26 themselves will not be deleted or changed in any other way. Once a region has been defined, the only way to move, extend or truncate it is to delete it and start again. If, in the previous example, your chorus only in fact extends to the beginning of bar 25 and you have made a mistake, select Navigation > Scroll to > Chorus, which will move the left locator to the beginning of bar 17 (right) and the right locator to the beginning of bar 26 (wrong); then select Navigation > Delete Marker > Chorus; move the right locator to the beginning of bar 25 (which is where it ought to have been in the first place) and define the region a second time by selecting Navigation > Create Marker and typing in the name Chorus as before. You can also define and use keyboard shortcuts for navigating swiftly between regions (see 07-06 Preferences - Customizing shortcut key assignments below).
Melodyne offers you numerous interesting possibilities for the creative editing and reshaping of melodies and rhythms. In the following section, we would like to look at these in greater detail. The main techniques include the selecting, deleting, copying, cutting and pasting of note blobs and the most used shortcuts [Command]+[A] (Select All), [Command]+[X] (Cut), [Command]+[C] (Copy) and [Command]+[V] (Paste).
To create vocal harmonies from a single part, for example, all you need to do is copy the melody into one or more new tracks and edit the pitch of the notes on the new tracks until the desired results are achieved. You could equally well select the notes you wish to copy and drag them to a new track whilst holding the Shift and Alt keys. If, rather than generating harmonies, you wish simply to double a part to make it sound as though two people rather than one are performing, it is more convincing (and produces rich, chorus-like effects) if slight variations in intonation and timing are introduced in the course of, or subsequent to, the copying. If you are working in the Editor and copy a part by [Shift]+[Alt]-dragging, this is done automatically. Otherwise, select the part followed by Edit > Edit Pitch > Add Random Offset to Pitch Center and/or Edit > Edit Notes Time > Add Random Offset to Time Course from the Edit menu. You can also rearrange the structure of a composition on a single track using commands like Cut, Copy and Paste. In addition to the usual Select All, the Edit > Select sub-menu offers you a variety of other options.
elect All selects all the notes of the current audio file. In the Arrange window, S this can also be done by clicking on the Control panel of the track in question in the Track list.
elect following Notes adds all the notes following the currently selected note to S the selection. This is useful, for example, when you have divided off a segment and wish to move it further to the right to allow space for the insertion of other notes. elect same Notes selects all notes occupying the same semitone as the S selected note. This is useful if, for example, you wish to replace all the Middle Cs in the piece with the note above (C#). elect same Notes in all Octaves is the same except that it allows you to select S all Cs (or all F sharps, for that matter) regardless of their octave. elect same Beats allows you to select all the notes in an audio file that occur S on the same beat of the bar as the note selected. This is useful, for example, if you wish to alter the rhythm of a percussion track by making all the notes on the first beat sound slightly earlier. By [Shift]-clicking multiple notes before selecting Edit > Select > Select same Beats you can define and pick out a rhythmic pattern wherever it occurs in the audio file. elect Notes between Locators is self-explanatory. Conversely, you can move the S locators to encompass the selected notes by double-clicking in the lower deck of the Bar/Time ruler. nvert Note Selection selects all the notes that are currently unselected and I deselects those that are. The standard shortcut, [Command]+[A], is assigned to Select All. You can, of course, assign your own shortcuts to any or all of the other options as explained in 07-06 Preferences - Customizing shortcut key assignments below. The intelligent clipboard The pasting of notes from the clipboard is implemented rather differently by Melodyne than by other sequencers, because a note to Melodyne is a note in the true sense of the word a musical event with a specific place in the melodic and rhythmic scheme of things rather than simply a snippet of audio. This means that when you copy a phrase or even an entire melody from one arrangement to another or from one part of an arrangement to another, not only the first note but all the notes fall automatically on the correct beats of the bar, even if the tempo of the source and that of the destination are different
you have played is fine but the tone color leaves something to be desired; when youre playing tirando on the guitar, for example, and the string gets caught under the nail making a thunk sound, even though the two notes may be of different pitches you can simply apply the timbre of the note before (which you played well) to the note you botched. The last two commands in the Edit > Paste Special submenu are self-explanatory assuming you know the difference between cutting and copying, which is perhaps not obvious from the words themselves. Copy and Paste Selection to Parallel Track creates a new track and copies the selected notes to it - without removing them from the source. Cut and Paste Selection to Parallel Track does the same thing except that this time the selected notes are removed from the source. The first of these commands is useful for doubling a classic technique used to give more body and vibrancy to a vocal or instrumental part. Here, as we said earlier, it is useful to introduce random but slight variations in pitch and timing to suggest two different performances rather than two copies of the same one; this can be done using Edit > Edit Pitch > Add Random Offset to Pitch Center and/ or Edit > Edit Notes Time > Add Random Offset to Time Course from the Edit menu. If the purpose of making the copy is two generate two-part harmonies from a single part, a faster way of doing this is to begin by selecting the notes in the Editor and dragging them up a third, say, whilst holding the Shift and Alt keys, as Melodyne then copies them to a new track as well as introducing the desired discrepancies without waiting to be asked. Further editing, of course, will be necessary to obtain a musically satisfying second part but a copy with random offsets represents a promising start. The second of the two commands, Cut and Paste Selection to Parallel Track, is useful in cases where you wish to add separate processing to elements within a track; you could select all the kick-drum notes from a drum loop, for example, and move them to a different track with this in mind. Incidentally, both of these actions can be performed in the Arrangement window without recourse to the Edit > Paste Special submenu, simply by selecting the notes and dragging them to a new track. If you hold down the Shift and Alt keys as you do so, it is equivalent to Copy and Paste Selection to a Parallel Track. Otherwise, the effect is the same as Cut and Paste Selection to a Parallel Track.
Faders box at the bottom of the Master Section is cleared, you can move the left and right master faders independently; otherwise they are yoked together. f the Rec Monitor box is checked, you will hear the I incoming signal with all the effects active in the signal chain; the degree of latency (delay) is partly determined by the buffer size (Preferences > Hardware > Buffer Size). bove this is a list box, marked Out, displaying the audio A hardware channels of the main output. The output channels available are dependent upon your audio hardware. rom the Aux list box(es), you can select from among the F available VST plug-ins or Audio Units (Mac only) one or more Aux effects the choice, again, being dependent upon the settings on the Plug-ins page of the Preferences dialog. Each time you select an effect, a new list box appears to permit the selection of another. At the same time, a second row of rotary controls (marked Ax) appears in the channel strips. Clicking the name of the selected effect in the Aux window of the Master Section opens a new window in which the parameters of the selected effect are displayed and can be adjusted. After selecting a new effect, this window opens automatically. The box at the top, displaying the word Configure, is a cascading list box that combines the functions of a View menu with commands for adding and deleting group and instrument tracks: By checking and unchecking the first three items, you can toggle the display of the EQ, Insert and Aux sections on and off. Group tracks, which you can create and delete using the next item in the list, are useful when you are happy with the balance between a group of instruments or voices (such as the components of a drum set; or the sopranos, altos, tenors and basses of a choir) but wish to make the entire group quieter or louder relative to the rest of the channels. Obviously if you had to move each of the faders in turn, you would be in danger of mucking up the balance you had perhaps gone to some pains to establish; so you begin
07 Integration and global functions
by creating a group track and routing the outputs of the member channels to it; only then do you begin the difficult task of establishing the balance between members of the group, which you only need to do once; thereafter, if you need to make the entire drum set or the entire choir louder without disturbing the level ratios between members of the group, you will move the group fader, leaving the channel faders untouched. The inputs of a group track are not selected in the group channel; instead, the various channels that comprise the group select that group as their output, which (obviously) comes to the same thing. The nesting of groups is also supported: all you do is route the output of one or more groups to a higher group; you might, for example, wish to route the output of the group comprising the three backing vocalists to a higher group that included the lead vocals; or unite the components of the drum set in one group, the other percussion instruments in a second group, and then create a third group uniting both drums and percussion). By default, newly created group tracks are stereo; if you wish to use them mono, select Mono from the list box above the Pan pot. nstrument tracks, which are created and deleted in the same way, serve as I containers for VST- or Audio Unit- (Mac only) instruments. These are played by audio tracks using Melodynes Audio-to-MIDI function as described in 05-05 MIDI Out Options. he final command in the Configure drop-down is Show EQ Graph. This displays T the combined effect of all the equalizer bands in the channel the EQ parameters of which were last modified; i.e. the frequency response of the EQ section as a whole. By selecting a point and dragging it vertically or horizontally you can set the Gain and Frequency parameters of the selected band. The Q factor, however, can only be controlled using the rotary control in the channel strip.
To select the type of SMPTE used for the transmission of MIDI Time Code, choose View > SMPTE Type followed by 24, 25, 29.97 drop or 30 from the submenu. If Melodyne is synchronized using MIDI Clock and the Cycle box in the Transport Bar is checked, Melodyne will cycle between the locators in sync with the MIDI Clock; if you would prefer it to follow the position of the MIDI Clock master, clear the Cycle box.
07-04 The function Spot to Pro Tools
The function Spot to Pro Tools has an important role to play in streamlining the workflow when Melodyne is used in combination with Pro Tools especially when Melodyne is used as a ReWire client with Pro Tools but is otherwise irrelevant. Note: whilst the option Spot to Pro Tools is shown automatically when a file containing Pro Tools regions is first opened, it is hidden by default; to show it, select Preferences > Other > Enable Spot to Pro Tools.
Explanation: regions is the term used to describe sections of an audio file within Pro Tools. Technically, they consist of pointers to the beginning and end of all or part of the file. For every take, Pro Tools defines at least one region encompassing the entire sound file. The order in which the regions that comprise each track are played back is determined by a playlist. When a region is created, it is given an Original Time Stamp and a User Time Stamp, which are initially identical and reflect the SMPTE time at which the audio was recorded. The User Time Stamp can later be redefined with the Time Stamp Selected command in the Regions List pop-up menu. If you open a time-stamped region in Melodyne while it is linked to Pro Tools via ReWire, the data will be placed in exactly the same ruler position in Melodyne as in the host application. Once the file has been saved, it can therefore be reinserted with sample accuracy into the host application at exactly the right place. How to use Spot to Pro Tools when you are running Melodyne as a ReWire client with Pro Tools In Pro Tools, select the audio file or region that you wish to edit using Melodyne. Choose Export Region Definitions from the Audio Regions List pop-up menu or in the case of audio files Time Stamp Selected from the Audio menu. Now open Melodyne as the first insert effect on the track; the program should launch automatically. If no ReWire channel is selected, please select one. This should happen automatically in the case of stereo files but has to be done manually when working with mono files. Inside Melodyne select Open from the File menu and navigate to the audio file to be edited or else to the audio file containing the region to be edited. When the file to be opened contains a region, Melodyne opens a dialog window from which you can elect to edit the entire file or only one region.
The Inspector area for the Pitch/Note Separation tool
The Separation parameter determines the sensitivity of the note separation; i.e. whether a greater or lesser number of sections of the audio file should be recognized as separate notes. When you select a new value, the process of note separation will be repeated throughout the audio file. The parameter for the sensitivity of the silence detection (Silence) determines the threshold beneath which sections of the audio should be considered silent. If the value Off is selected, no silence will be defined and any silence following the dying out of a note will be added to this note. This parameter also has a general influence upon note separation. If you select a new value, the process of note separation will be repeated throughout the audio file. First find the values for these two parameters and the note separation mode that are best suited to the material, and only then perform the manual note separation, since manual separations are lost as a result of the general note separation!
Tip: With the tool for altering the note separations, you can if need be alter the beginning of the first note or the end of the last note. It may be that before the first note identified by Melodyne in a vocal line there is an intake of breath that you wish to include or Melodyne has set the end of the last note too early, where in the recording there is a quiet but audible dying away of the note that you would prefer to keep. In this case, drag the first or last segment borders of the audio file, and the part that was previously inaudible will be restored.
08-05 The Define Score Time tool
The assignment of notes to time and measure (bar) is performed with the Define Score Time tool. Melodyne attempts during the detection to determine the tempo automatically. With markedly rhythmic material with a constant tempo, the detected tempo will probably be right. If the course of the tempo is in principle constant, but individual notes are constantly falling slightly before or after the intended beat, Melodyne will position the bar background in such a way as to find the best fit with the material played. If the tempo detection is correct, you will only need occasionally to adjust the position of the beginning of the bar, because the position of the first beat of the bar is not always clearly recognized. You can do this most easily by selecting 1/4 from the Quantization menu and moving the small gray I in the Bar/Time ruler to the position where the first beat of the bar is found. If the tempo has been correctly identified but you feel that where Melodyne has written crotchets (quarter notes) it should have written quavers (eighth notes) or vice versa, you can put matters right by selecting Edit > Define Tempo > Half Tempo or Edit > Define Tempo > Double Tempo respectively. If the tempo follows an uneven course, it will usually need further editing. For the work that follows, activate the metronome click. Then select the Define Score Time tool.
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