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.
A tool like no other
Melodyne lets you work with audio in an entirely new way. One that is musical, nifty, crystal-clear and almost magical. Working with Melodyne is like being able to say to a singer “hold this note a bit longer” or to a pianist “give slightly less weight to the third in this chord” – hours, weeks, even years after the recording session.
The fantastic editing possibilities, the outstanding sound quality and the intuitive and musical operation make Melodyne an incomparable tool without which it would be hard to imagine modern music production.
Notes and tools
Notes are displayed in Melodyne in the form of "blobs" - the precise path traced by the pitch is indicated by the wavy line. With Melodyne’s tools, you can edit the notes directly and modify all important musical parameters. Just grab the notes, and you’ll find you can adjust their pitch, vibrato, volume, timing and much else besides in a highly intuitive manner.
- Notes not waveforms. Manipulate the notes, editing intonation, melodies and harmonies, rhythms, grooves, dynamics, formants and much else besides. Even with polyphonic instruments like the piano or guitar: each individual note!
- Multitrack Note Editing. See and edit the notes of multiple tracks simultaneously – turns the optimization of multi-track recordings into child’s play.
- Everything that counts musically. Melodyne detects the tempo, scale and tuning, letting you edit all important musical aspects of your material as comprehensively as the notes.
- Innovative sound design. Access the overtones in your recording directly, color and shape the sound in a unique way. From sophisticated equalization to way-out resynthesis.
- Compatibility and user-friendliness. Thanks to its cutting-edge technology and flexible interface, Melodyne adapts perfectly to your requirements. Whether as a plug-in in your DAW or as a stand-alone application.
Melodyne rescues, helps, optimizes and inspires. You’ll never want to work with audio any other way.
If a good take is spoiled by small errors, you don’t have to throw it away, because with Melodyne you can simply repair it. Regardless whether they’re intonation or timing errors, notes that are too loud or too quiet, with too much vibrato or too little.
You can optimize the tiniest details of your recordings, bringing them as close to perfection as you desire. And since Melodyne works in a highly musical way, neither the vitality nor the naturalness of the performance is sacrificed in the process.
Furthermore, the unbelievable flexibility of audio in Melodyne can be the launching pad for your boldest ideas. Notes, phrases, rhythms and noises in Melodyne become raw material that you can stretch, reshape, layer and transform – virtually at will. If a thing is conceivable, there’s a good chance that with Melodyne you can also make it reality.
Whatever your system or workflow, Melodyne fits right in. As a plug-in, Melodyne can be effortlessly integrated into your projects. Melodyne supports the VST, AU, RTAS and AAX plug-in interfaces and combines seamlessly with all important DAWs.
One particularly user-friendly form of integration takes advantage of our ARA Audio Random Access technology, which allows better communication between the plug-in and the DAW and is currently supported by Presonus Studio One, Cakewalk Sonar, Magix Samplitude and Tracktion. Melodyne can also run as a stand-alone application, linked to your DAW via Rewire if required.
Why Melodyne is better
That Melodyne sounds so good and is so simple to use is based on two things. The less important is the technology.
The decisive factor is its understanding of the music.
Melodyne identifies the notes and the relationships between them. It is only as a result of this knowledge that Melodyne’s algorithms are able to “think” and operate in such a musical way. The benefits to you as a musician and producer include the famously superior sound of Melodyne and many other advantages that software lacking this understanding of musical contexts is incapable of offering.
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.
Melodyne’s 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.
Melodyne distinguishes between three different types of pitch parameter for each note: the pitch center, the pitch modulation (or ‘vibrato’) 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 – quite independently – 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 – even though no trace of their original melodies may remain.
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.
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 – including any fluctuations therein. Thanks to Melodyne’s 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 Melodyne’s 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 – even to a dramatic extent – for creative purposes.
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 – 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 – 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.
Work with multiple tracks
Multi-tracking is one of Melodyne’s most important functions. Because it’s only when you can see and edit multiple tracks in context that the possibilities of Melodyne reveal their full potential.
In the Note Editor, you can display as many tracks as you like simultaneously – some to edit, others purely for reference; you decide. This way, while you are making detailed adjustments and improvements, the overall musical picture remains clearly in view; and you can treat choral tracks or backing vocals as a unit as you work on their voice-leading, intonation or timing.
Notes can be selected, edited, copied or deleted across track frontiers. This makes it possible to change the melodies, harmonies and rhythms of multiple tracks simultaneously or edit notes you’ve allocated to different tracks, for the sake of the mix, as though they were still on the same one. This type of simultaneous access to the contents of multiple tracks is afforded by Melodyne alone.
More than the sum of its parts
Taken together, Melodyne’s editing functions offer you fantastic freedom in the way you handle audio.
No other tool displays your recordings and samples in such a clear and musically intelligible way, or lets you edit them with such precision and in such detail – now subtly enhancing, now radically transforming, now taking apart and completely reconfiguring your audio material. Melodyne opens the way to a multitude of useful, fascinating and inspiring applications.