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Melodyne is a software application for OS X or Windows with which you can edit audio in a more musical way than was ever thought possible. In Melodyne, you work with notes ñ and not with a meaningless wave form. You donít just see where the music gets louder or quieter but also where notes begin and end and at what pitch they lie.
You can modify each note and thereby influence directly the intonation, phrasing and dynamics ñ and do this not only with vocals and monophonic instruments but with polyphonic instruments such as pianos and guitars as well. Working with Melodyne is like being able to say to a vocalist ìsing this note a bit longerî or to a pianist ìgive slightly less weight to the third in this chordî ñ hours, weeks, even years after the recording session. Notes are displayed in Melodyne in the form of 'blobs' - the precise path traced by the pitch is indicated by the wavy line. With Melodyneís tools, you can edit the notes directly and modify all important musical parameters. Just grab the notes, and youíll find you can adjust their pitch, vibrato, volume, timing and much else besides in a highly intuitive manner.
The algorithms
Melodyne offers you algorithms for every type of audio: vocals, instruments, percussive sounds, noise, entire mixes. The algorithm determines how the audio material will be interpreted and displayed. The Melodic and Polyphonic algorithms offer you, in the case of vocals as well as both mono- and polyphonic instruments, full access to the notes of which the sound is composed as well as to their musical parameters. The Percussive algorithm offers you a time-sliced display suitable for drum loops, percussion instruments and noise-like, unpitched material. The time slices are edited in a very similar manner to the notes. The Universal algorithm is ideal for time-stretching or transposing entire mixes or polyphonic instrument tracks in cases where no access to the individual notes is required. It is very sparing in its use of resources and it, too, slices up the matrerial along the time axis. Melodyneís algorithms allow you to make anything from the subtlest to the most far-reaching enhancements to your audio material, whatever its nature, the resulting sound quality being optimal in every case.
Editing pitch
Melodyne distinguishes between three different types of pitch parameter for each note: the pitch center, the pitch modulation (or ëvibratoí) and the pitch drift. The fact that you can shift notes that are slightly out of tune to (or towards) the correct pitch, as well as ñ quite independently ñ controlling the amount of vibrato and pitch drift they exhibit, means that the sound remains natural at all times, with no tell-tale signs of having been edited. You can make very precise, targeted interventions by hand or, if you prefer, take advantage of intelligent macros to make sweeping changes swiftly and easily. You can move notes continuously in pitch or else up and down the chromatic (or some other) scale. In this way, you can alter melodies and chords in an intuitive way and also copy parts with a view to doubling them at the unison or octave or creating counter-melodies, backing vocals or entire choral arrangements. When you change the pitch of connected notes, the transitions between them are preserved. As a result, performances continue to sound authentic and credible ñ even though no trace of their original melodies may remain.
Editing timing
Each note can be moved forwards or backwards in time, lengthened or shortened, or quantized using the grid of your choice. Detailed editing is even possible of the timing within each note. With the Timing Tools, you can correct specific errors, enhance phrasing and shape the envelope and transients of notes. The Quantize Time macro affords a particularly flexible and user-friendly means of tightening up performances giving them a different feel. Time stretching in Melodyne is note-based and dynamic: Transients, consonants and sibilants are not stretched or squeezed to the same extent as the parts coincident with vowels that generally convey their pitch. This means you can make even extreme changes in the timing of notes without their transients becoming corrupted or their envelopes assuming unnatural forms.
Editing tempo
Melodyne comes with powerful algorithms for the detection and editing of tempo. Taken together with the timing tools and macros, these offer you complete control over all temporal aspects of your recordings. The quantization of notes, and use of the time grid when moving notes, only make sense when the grid reflects the true tempo of the performance ñ including any fluctuations therein. Thanks to Melodyneís ability to detect tempo accurately, this is invariably the case. Which gives you the freedom inter alia to record without a click, as Melodyne can generate both a click and a time grid later, synchronized to the changing tempo of the performance. Further functions allow you to transfer the living, breathing tempo of a live recording to rigid loops and even other live recordings, as Melodyneís ability to create precise tempo maps of each performance allows you to bring them perfectly into sync. And naturally, you can tighten up sloppy timing, too, wherever necessary as well as speed up or slow down the tempo ñ even to a dramatic extent ñ for creative purposes.
Editing amplitude
You can make notes louder or quieter simply by dragging with the Amplitude Tool. Double-clicking on notes with this tool successively mutes and unmutes them. The ability to fine-adjust amplitude on a note-by-note basis is not only convenient but makes an important musical contribution: through targeted intervention, unwanted fluctuations in volume can be corrected easily and the dynamic expression of a performance enhanced or optimized. You can even tweak the volume of individual notes within a chord. When mixing, too, the ability to fine-adjust amplitude using Melodyne is an invaluable aid: you can rein in the volume of sibilants, consonants and breath noise by intervening directly in the audio material, which means you can make more sparing use of any compressor following in the signal chain.
Shape the sound
The Sound Editor and Formant Tool provide unique ways of optimizing the timbre and achieving spectacular tone colors and effects. Unlike a conventional sound processor, Melodyne knows the notes on each track and allows far more penetrating access to their sound ñ direct access, in fact, to their overtone structure. In this way, you can change the timbre of voices and instruments at the source, so to speak ñ through subtle, fine enhancements or far-reaching experiments in sound design. These might include, for example, impressing on one track the sound characteristics of another. Whereas with the Formant Tool you can edit notes individually, with the Sound Editor you are shaping the sound of the entire track. Here, you can control with surgical precision the level of individual overtones or transform the spectrum systematically with an array of swift and efficient macros. A high-resolution, 1/12-octave equalizer affords you a further, very musical, means of shaping the sound.
The complete Melodyne. Melodyne 4 studio offers you all Melodyne functions for both correction and creative applications on an unlimited number of tracks. You can edit the sound and musical content of your recordings in such an intuitive manner or make such far-reaching changes with no other audio tool.

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