Double-clicking the entry for an activated sound bank has two possible effects: - f Melodyne does not yet know where the sound bank is stored, a file select box i opens, which you can use to localize the sound bank; - f Melodyne already knows where the sound bank is stored, double-clicking i opens the Melody Manager window from which you can access the sound banks samples.
01-07 Activating a Liquid sound bank from Ueberschall
The activation assistant is also used to activate the sound banks of the Liquid series from Ueberschall. The activation in this case has nothing to do with myCelemony but is handled by Ueberschall itself. To activate your Liquid sound bank, please proceed as follows. 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 Activate Sound Bank button. From the page that appears, you can choose whether you wish to activate an MSL or a Liquid sound bank. Select the option for Liquid and click Continue. The Liquid activation page appears: - click the Add button to select and register a Liquid sound bank; - copy the challenge code displayed; - lick the Web Page button to access the Ueberschall web site. From there, navi c gate to the User Area and click the link for the activation of a Liquid sound bank: - enter your challenge code to obtain the response code for your computer; c - opy the response code into the corresponding field on the assistant page displayed above. The activation is now complete and you can close the assistant. Double-clicking the entry for an activated sound bank has two possible effects: - f Melodyne does not yet know where the sound bank is stored, a file select box i opens, which you can use to localize the sound bank; i - f Melodyne already knows where the sound bank is stored, double-clicking opens the Melody Manager window from which you can access the sound banks samples.

01-08 Deactivation

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

03-11 Creative re-quantization: an example
Melodynes Quantize Time functions are further proof of the musical intelligence of the program. They offer not only powerful editing functions for the swift correction of timing problems but also a wealth of creative possibilities. To give you an idea of just some of them, we will show how the rhythm of a tabla loop can be radically transformed with a few mouse-clicks. t this point, please load the file tablaloop.wav, which you will find in the A Audio Files subfolder of the folder Manual. You will see the following twobar loop displayed in the Editor. The original tempo is 104 BPM.
egin playback of the tabla loop and open the Quantize Time dialog from the B Edit menu. lick the 1/8 push button in the Groove C Reference group and set the Quantize Timing control to 100% (not that this makes much difference here, as the performance is reasonably tight to begin with).
ow push the 1/16 T (semiquaver triplets) N button and the tabla loop will begin to swing, though in a somewhat stilted fashion at first: move the Quantize Timing slider to somewhere between 30% and 60% for a pleasantly understated swing.
nother interesting perspective is offered by A the setting 1/4 T (crotchet triplets) with the Quantize Timing slider moved all the way to the right (100%)
now the rhythmic emphasis is transformed and the entire feel of the loop changes. N ow lets see what happens when we change the time signature. Exit the Quantize Time window with Cancel to return to the original rhythm. Change the time signature to 5/4, make sure the Autostretch check box is cleared (we dont want to change the playback speed) and alter the tempo definition from 104 to 130 BPM.
Now the background of the Editor shows the loop extending over two bars of five beats each. The notes, naturally, do not correspond with the grid. ow open the Quantize Time dialog; push the N 1/4 button in the Select Groove Reference group box and move the Quantize Intensity slider all the way to the right (100%).
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.

Working with the Melodyne Sound Library and Ueberschall Liquid sound banks
With Melodyne studio, you can integrate titles from the Melodyne Sound Library (MSL) as well as Liquid sound banks from Ueberschall into your work. These libraries offer you high-quality phrases tailor-made for use with Melodyne; they are extremely flexible and easy to manipulate, and you can insert them into your own arrangements. First copy the library files from the CD/DVD to your hard disk. The procedure for activating MSL tiles and Liquid sound banks is described in Chapter 1. Once you have activated a Melodyne Sound Library or a Liquid sound bank, double-clicking on its entry on the status page of the activation assistant has one of two possible effects: - f Melodyne does not know where the sound bank is stored, a file select box will i open allowing you to locate it; i - f Melodyne does already know the location of the sound bank, double-clicking opens the Melody Manager window through which you can access the samples in the sound bank. From the Melody Manager window, you can work with the material in the normal way, dragging phrases, segments or even individual notes into your arrangements. 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.

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

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.

Tracks in Melodynes Arrangement window
The functions of the Track list The left-hand margin in the Arrangement window is occupied by the Track list, within which each track is assigned a control panel containing its name and a number of buttons: T o select a track, click on its control panel in the Track list or (if it already contains audio data) on one of its notes; the bold outline of the panel in the Track list and the fact that the notes are red (rather than yellow) indicates that this is the currently selected track. o select all the notes of the currently selected track, click the panel a second T time. o open a track in the Editor, double-click on its control panel in the Track list. T T o increase or decrease the height of a track in the Arrangement window, drag the dividing lines in the Track list. o increase the width of the Track list (in order to display longer names), drag T the dividing line between the Track list and the track display. ou can rearrange the order of the tracks in the Track list by dragging and Y dropping their control panels to new positions: to promote a track, click on its control panel and drag it upwards; to demote a track, drag its panel downwards. o rename a track, double-click on its name and enter a new one; the name T initially given to a track is that of the audio file from which it is derived. Click the button marked M to mute a track. lick the button marked S to solo a track. You can solo multiple tracks by C Shift-clicking their solo buttons; this is equivalent to, but often faster than, muting the tracks you do not wish to hear.
lick the button marked R to record-enable a track. Doing this whilst the C recording is already in progress is equivalent to punching in; deselecting it is equivalent to punching out. Editing multiple tracks In the Editor, you can have single or multiple files. At any one time, only one of these tracks (the track currently selected) can be edited and the others are displayed more palely in the background. Tracks are transferred to the Editor either by double-clicking in the Arrangement window or by selecting them from the list box just above the quantization menu in the Editor. As in the Arrangement window, you can display the currently selected track in notation form by clicking the staff symbol at the left-hand edge of the Time/Bar ruler.

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

following notes and drag the entire selection four bars to the right using the Move Notes tool. Now you have room to insert a new line. The statement above that the rest must be of sufficient length to accommodate the material to be inserted needs to be qualified in one respect: if the last of the inserted notes overruns the start of the following material, thats no problem; Melodyne simply truncates it. If, on the other hand, the beginning of the last note falls outside the paste area, you will see the error message: Not enough space after paste position! With single notes, therefore, you are allowed to paste a note lasting three beats into a rest lasting only two. Melodyne simply truncates the note, making it a minim (half note) instead of a dotted minim. Replacing notes The same is true when you are replacing one note with another: the two notes dont have to be the same length; if the new note is too long, Melodyne simply truncates it. Where, for example, a vocalist has made a hash of a high note on the second repetition of the chorus but got it right in the first, you simply select the note that was correctly sung followed by [Command]+[C] (or Edit > Copy); then select the botched note followed by [Command]+[V] (or Edit > Paste) and Melodyne will replace the botched note with the correctly sung one, truncating the latter in the event that it overruns the start of the next note. Melodynes Edit > Paste Special menu contains a number of unusual, but very useful, functions:
Pasting pitches Paste Pitches solves the problem that you cannot simply copy a correctly sung line from one verse to another unless the lyrics are the same. Provided the rhythm is, and that the only real problem is intonation, all you need to do is make the pitch of the notes in the second verse conform to the pitch of the equivalent notes in the first. Similarly, if you are generating four-part harmonies from a single vocal part and you intend to use the same harmonies in all three verses, all you need to do is copy the original recording to four separate tracks; create vocal harmonies for the first verse only, by moving the notes of the three harmony tracks up and down in pitch; and, finally, taking each of the harmony parts in turn, and pasting the pitches of the first verse to the two following verses. Taking the alto part as an example, pasting the pitches involves nothing more than selecting the notes of the first verse followed by Edit > Copy; then selecting the notes of the second verse (which at this stage are those of the melody) followed by Edit > Paste Special > Paste Pitches and, in place of the melody, you will have the alto part created for the first verse, except that the words will be those of the second verse not those of the first. The Paste Pitches function is also intelligent in the sense that it does not just take the first 8 notes, say, of the destination and apply to them the pitches of the first 8 notes of the source; if it did, it would make a nonsense whenever there was a slight difference in the number of syllables in the source and destination lines. Quite often in a song, a minim in one verse is replaced by two crotchets (or a dotted crotchet and a quaver) to accommodate an extra syllable in the second verse; in such cases, Melodyne retains the rhythm of the second verse but applies the same pitch (that of the minim in the first verse) to both notes. It may be that you would prefer to introduce some melodic variation at this point, but in that case, you must decide for yourself what notes you would prefer and make the adjustments manually. Melodynes intelligent but it cant read minds! Replace Keeping Target Pitches does the exact opposite of Paste Pitches. Take the song: For hes a jolly good fellow. The rhythm and the words of the first and second lines are the same; its only the pitches that are different. Suppose the subject of the eulogy were a woman, and you started off For shes a jolly good fellow but then forgot and sang For hes a jolly good fellow in the second line. Now the pitch is right both times; youve just got the wrong word in the second line, so you select the word shes (OK, its two words) in the first line; copy; select hes in the second followed by Edit > Paste Special > Replace Keeping Target Pitches; and the hes will be replaced by shes in both lines, but the pitches will be different. This is useful, too, for instrumental parts, where the note

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.

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.

07-03 Synchronization via MIDI Clock and MTC
drag the first beat to the beginning of a bar, so as to ensure that the Bar/Time Ruler is correctly aligned with the audio a sine qua non of correct timing editing in Melodyne. Doing all this, it should be understood, only affects the tempo definition the spacing and alignment of the gridlines or columns in the background display and not the audio file itself. It may be necessary to move the beginning of the first bar to the desired position by dragging the little grey 1 marker in the Bar/Time Ruler, (again: with the Timestretch function deactivated!). Double-click the small grey 1 and type in a value if you need to move the 1 by two or more bars. As far as the tempo in ReWire client mode is concerned, two situations have to be distinguished: a) he file to be opened is derived from the ReWire master, where it has just been t recorded: in this case, in all probability, the file will already have the same tempo as the host, which has already been detected, and it is unnecessary (and may even be counterproductive) to let Melodyne determine the tempo; instead, you need Melodyne to adopt the tempo of the master as the tempo definition, so select Newly Opened Files Adopt the Tempo of the ReWire Master; b) he file to be opened does not have the same tempo as the master; in this t case Melodyne should be allowed to analyse the material and suggest a tempo setting; though, again, it may be necessary to correct this manually. Once the tempo has been correctly defined, Melodyne is able (using a process that could be described as realtime time-stretching) to play back the audio file in time with the ReWire master. During playback, Melodynes Tempo box is deactivated and simply displays the tempo of the master, so you cannot enter a new value manually. Note that when Melodyne adjusts the playback tempo of the audio file to match that of the host, it is not altering the audio file itself; if you do want to change the tempo of the audio file, you have to halt the playback, check the Autostretch box, enter the desired tempo manually, and save the file. You can find more information concerning Melodyne and ReWire, current compatibility lists and configuration tips at http://www.celemony.com/support.

Melodyne can be synchronized with other programs via MIDI, using either MIDI Clock or MIDI Time Code. Melodyne can also transmit these synchronization codes and act as the master. Melodyne is also capable of adjusting to variable tempos in real time, but if you wish to take advantage of this capability, it generally makes sense to use MIDI Clock, as MIDI Clock unlike MIDI Time Code is based on musical beats.
To employ synchronization, first select which MIDI ports should be used to send or receive the signals (and whether the MIDI Time Code or the MIDI Clock protocol should be used) using the list boxes provided on the MIDI Ports page of the Preferences dialog, which you can open either in the normal way (Preferences > MIDI Ports) or by selecting Open Port Settings from the Sync drop-down list in the Transport Bar. When you have finished in the Preferences dialog, return to the Sync list box in the Transport Bar and select Send MIDI Sync or Receive MIDI Sync as appropriate.
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.

You can control most of the functions in Melodyne including the Transport Bar, the Mixer and even Melodyne-typical functions such as transposing the fundamentals or formants of individual tracks or the entire arrangement using an external MIDI controller, either by assigning the various knobs, switches and faders to Melodyne functions yourself (which is not difficult) or by choosing a controller already supported by Melodyne (such as MackieControl, LogicControl and Radical SAC), in which case the work has already been done. To assign functions to the controls of an external device not already supported by Melodyne, choose Preferences > MIDI Remote Control followed by Add > Generic Controller from the Options list.
The MIDI Remote Control page of the Preferences dialog showing the cascading Options list
By generic controller is meant simply any MIDI controller other than those specifically named below (for which the assignments have already been defined). It is also possible to import or export predefined controller assignments. Once a controller has been registered with Melodyne in this way, you can activate it using the checkbox to the left of its name on the MIDI Remote Control page of the Preferences dialog. If you double-click the name (or select Edit from the Options drop-down list), you open a window in which you can define your controller assignments. These can be organized into several banks, so that you can assign to elements of your MIDI hardware controller in each bank a different function for the operation of Melodyne. When a controller is first added, it has an empty bank without assignments (or mappings). First click the Title field and name the new controller before selecting from the MIDI In list box the MIDI In port to which your controller is connected. With the Mapping Add key, you can add as many assignments as necessary. Each assignment is displayed as a line in a table. In the first column, you can give to each of your control elements (such as faders, buttons and so on) a name of your choosing. The next three columns show the MIDI value that the control element in question sends. You can enter the type, MIDI channel and number either manually or directly via MIDI. When the MIDI connection is active (in which case the box beside its name in the Preferences dialog is checked), the values of the selected controller mappings are determined by the incoming MIDI events. These could be either controller, Note On/Off, program change or pitch bend messages. The first four columns remain the same for all banks, since they represent the hardware device itself.
The window for mapping the control elements of a MIDI remote controller to Melodyne functions

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.