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Extra resources for Sound On Sound - February 2016

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C o m ON TEST CELEMONY MELODYNE 4 What You Can Do One of the projects I used as a testbed was a multitrack recording of a folk song where we had dubbed piano, penny whistle, electric guitar and a harmony vocal over a live take of vocals and fingerstyle guitar. The original guitar part was rhythmic, but after a bright start at 95bpm or so, slowed down gradually through the take, ending at 85bpm or so. Apart from the piano, none of the other parts had much rhythmic content, and there were lots of legato slurs in the whistle part.

Together, they make up a set of editing tools that should keep inquisitive sound designers busy for years to come. They are joined by two additional Resynthesis controls labelled Magnitudes and Phases. As you move the former away from its default zero position, Melodyne starts to fade out the actual sound of your recording, and to replace each note with a resynthesized version built from ‘pure’ sine waves. 1) can, with the difference that Melodyne can only change the character of existing audio; unlike Alchemy, it can’t abstract a sound and make it playable as a MIDI instrument.

And it’s not possible to select only part of an audio file in the tracks view, so if you want to, say, conform or detect the tempo of just one song section, you’ll need to go into the Note Edit view to select that section. I must emphasise, though, that these are minor issues. In the majority of real‑world situations, the new tools for working with tempo in Melodyne 4 are a pleasure to use, and they carry out their work with a musicality and transparency that is, as far as I know, completely unprecedented.

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Sound On Sound - February 2016 by Magazine


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