User manual CELEMONY SOFTWARE MELODYNE EDITOR 1.2 REV 2

[. . . ] editor user manual Melodyne editor user manual rev 2 This documentation refers to Melodyne editor 1. 2. Hoenig, Stefan Lindlahr, Alex Schmidt Translation: Ewan Whyte Layout: Saskia Kölliker Celemony Software GmbH Valleystr. 25, 81371 München, Germany www. celemony. com Support: support@celemony. com The manual and the software described therein are supplied under formal licence. They may be used and copied only under the conditions of this licensing agreement. [. . . ] (Please bear in mind that for technical reasons, switching to this mode causes the Undo History to be deleted, so any actions performed prior to the change of mode can no longer be reversed. ) If you select the Note Assignment Tool whilst editing polyphonic material, additional control elements will appear beneath the Toolbar. The color of the editing background changes to remind you that in Note Assignment mode, no `audible' editing is possible. This mode is used to check Melodyne editor's interpretation of the audio material and correct it where necessary. Notes that have been `swallowed' (where a fundamental has been mistaken for an overtone) can be activated, which makes it possible later to edit them. Conversely, overtones that have been mistaken for fundamentals can be deactivated. they are solid) whereas, with inactive blobs, only the hollow outline is seen. 62 Melodyne editor user manual Checking and editing the note detection When you click on a blob, you will hear the pitch of the corresponding tone. Where a solid blob has been assigned to what is, in fact, merely one of the overtones of some other note, you can deactivate it by double-clicking on it. Now only the hollow outline of the blob will be seen and its energy in the frequency spectrum will be attributed to the note of which it can most plausibly be assumed to be an overtone. In the example above, you can see that, in deactivating the higher A, we have caused the lower A to be redrawn more thickly: this is because the spectral energy previously ascribed to the higher note (when it was assumed to be a separate note) has been reassigned to the lower one (of which it is now considered to be an overtone). Conversely, by double-clicking on a hollow blob, you can turn a potential note currently interpreted by Melodyne editor as an overtone into an active one. Only active notes can be edited later using the tools in the Melodyne Toolbar, which is why all the notes played and only those notes should be represented by solid blobs. Otherwise you may find yourself editing, not whole notes with their full overtone spectra, but stray overtones divorced from the fundamentals to which they belong, which will yield poor results acoustically. Now that you know how to activate and deactivate blobs, you have mastered the basics of Note Assignment in Melodyne editor. The more complex the overtone structure of the audio material, the more open it is to different interpretations when it comes to note assignment, and therefore the more work you will have to do to correct manually the inevitable errors of interpretation. Melodyne editor does offer you, however, a number of aids to ensure the procedure is as swift and effortless as possible. Melodyne editor user manual 63 Checking and editing the note detection The Monitoring Synthesizer A considerable aid when checking and correcting note assignments is accessed by clicking the Sine Wave Icon, which you will see beneath the Toolbar. When activated, this causes the sound of a synthesizer to replace the normal sound of each blob. To control the volume, click on the icon and drag the mouse pointer to the left or right. This synthesizer replaces normal playback of the original recording when Melodyne editor is in Note Assignment mode. This allows you to hear the notes that are currently `active' ­ i. e. Think of the solid blobs as representing a transcription of the music in the audio file. The synthesizer allows you now to check this transcription undistracted by the original sound. With it, you can very quickly determine whether all the notes actually played have been identified correctly as fundamentals as well as weeding out notes that were never played ­ i. e. You can carry on activating and deactivating blobs even during playback with the synthesizer; this allows you to hear what you are doing and arrive more swiftly at the ideal: where the solid blobs displayed represent all, and only, the notes actually played. Note separation When you place the mouse pointer somewhat above a blob, the arrow turns into the Note Separation Tool. With this, as with the normal Note Separation Tool, you can split or join notes by introducing or removing note separations. 64 Melodyne editor user manual Checking and editing the note detection The Note Assignment Slider The double slider that appears beneath the Toolbox in Note Assignment mode allows you to control the number of potential notes displayed and the number of active notes derived from them. [. . . ] Since in this case, we want to halve the current tempo, we select the entry beginning `1/2' from the list box provided. When we now exit with `OK', we will find that the one-bar loop extends over one bar only in the grid, and that the value in the Tempo box has been halved. Problem solved. Defining a constant tempo If you choose the option `Define constant tempo', you can enter in the box provided a new value for the tempo. When might you want to do this?There is one case in particular where it might be desirable to define a fixed tempo. Suppose you are editing a guitar track recorded in time with a playback running at 120 BPM and the player has introduced slight 136 Melodyne editor user manual Special functions of Melodyne editor Stand-Alone tempo variations to his or her performance. [. . . ]