User manual CELEMONY SOFTWARE MELODYNE STUDIO 3.2

[. . . ] studio user manual version 3. 2 © Celemony Software GmbH, 2010 Melodyne studio user manual version 3. 2 This printed documentation refers to Melodyne studio 3. 2. Please check your program folder for updated documentations in pdf format. In addition, the latest documentation can always be downloaded from www. celemony. com. Hoenig, Peter Neubäcker Translation: Ewan Whyte Celemony Software GmbH Valleystr. [. . . ] ­ To the right, you find text fields in which the frequency of each key of the scale is displayed. All other fields will change according to the tuning chosen in a text field. Thus you cannot enter different frequencies for different notes of the scale here - the chosen tuning sets the relation between the tones. For example, if a piece has been recorded in a tuning with A=415 Hz, you should enter "415" into the text field defining A, and all other frequencies will change accordingly. ­ At the bottom there is a text field which is labeled "Offset" - this field allows you to enter the deviation from "standard" tuning (A=440 Hz) in cents. If you enter a frequency in the note fields, this field will always also show the deviation from standard pitch in cents. ­ At the top left of the Tone Scale window, there is a drop-down list from which you can select from a large number of different scale structures. These include not only the harmonic and melodic ascending forms of the minor mode but the church modes, major and minor pentatonic, whole tone and diminished scales as well as scale structures employed in the music of Asia and the Middle East. 98 Melodyne studio user manual 05-05 Defining the Tone Scale and Tuning Editing Tone scales The "Edit" button opens the extended tone scale panel as displayed to the right. Here, you can define any tuning that you want to apply to the arrangement. (If you do not intend to work with historical, ethnic, or experimental tunings, you can skip the following sections. ) For a better comprehension of working with tone scales, we must distinguish between relative and absolute tone positions. In Melodyne, the relative positions are called Do, Re, Mi. . . , the absolute positions are called C, D, E. . . we will not do this here since we would lose the difference between relative and absolute positions. It would have been best to use the Hindu names Sa, Re, Ga. . . , as these only intend relative positions). This discrimination would be irrelevant for equal temperament, since in this (and only in this) temperament the intervals of all tonal positions are exactly equal to each other. This means that a C major scale on a piano, which is tuned in equal temperament, has the same intervals as an E major scale. The relative intervals (Do, Re, Mi. . . ) are used at first as a construction plan to specify a tuning relative to the imagined key note or tonic (Do). The second step is to specify where this tonic is located in an absolute system, i. e. like on a piano key (C, D, E. . . ). Used Tonal Positions Proportions of the relative Tonal Positions Assign relative to absolute Absolute Tonal Positions Proportions of the absolute Tonal Positions Melodyne studio user manual 99 05 Other editing functions and options ­ The buttons "Used Tonal Positions" define, which tonal positions (of 12 possibilities) appear in the scale. (These then become the positions that notes can snap to if "Scale Snap" is activated. ) ­ The text fields "Proportions of the relative Tonal Positions" define the actual tuning. (If the Editor Window is opened when you make these changes, you can see how the background of tonal positions changes relative to the other tonal positions. ) This procedure defines the relative tuning. ­ The buttons "Assign relative to absolute" specify which absolute tone is set to be the actual key note of the relative tuning. If you press a button for the assignment, you can see that the displayed cent value beside the absolute tone is set to 0. [. . . ] Shift + Command D Micellaneous Autoscrolling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Alt + drag mouse Windows Melody Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Shift + Command A Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Shift + Command E Transport . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [. . . ]