Melodyne3 Melodyne3 offers a new algorithm that allows any type of audio material to profit from Melodyne’s unique editing functions and sound quality; in other words, Melodyne is no longer limited to the editing of melodies but can handle homophonic and polyphonic textures. Melodyne3 also offers fully automatic analysis of the audio material, powerful macros for the correction of intonation and timing errors, and numerous improvements in the user interface. Melodyne3 is not only capable of doing far more than its predecessors; it is also faster and easier to use. Recording artists and engineers have known about Melodyne for years. Until now, though, it was only monophonic vocal and instrumental parts that could benefit from Melodyne’s much-admired editing algorithms: algorithms capable of everything from minor corrections of intonation to extreme pitch shifting and from the subtle modification of grooves to drastic time stretching. With version 3, Melodyne is no longer limited to melodies but offers a unique algorithm that can perform high quality time stretching on full chords and complex audio signals; so now harmonic material (such as rhythm guitar or piano parts) — whether homophonic or polyphonic — can be transposed (without altering the tempo), slowed down or sped up (without altering the pitch) and even quantized. What’s more, all this can be done in real time with the sound quality for which Melodyne is famous. Melodyne3 employs the same audio analysis engine as Melodyne uno: the process of note recognition is therefore fully automatic and the results more reliable and delivered more swiftly than heretofore. That’s one way in which Melodyne3 makes working with audio files easier. Others are the Correct Pitch and Quantize Time macros, which allow the most common flaws in vocal and instrumental recordings to be removed with a few mouse clicks. Melodyne3 is not just far easier to operate and better attuned to the working practices of musicians and recording engineers than its predecessors but also better structured. Context-sensitive combi-tools, logically arranged menus and intuitive new methods of operating in the arrange and edit windows streamline the workflow as well as reducing the time taken to master the program. There are also notable improvements in the way Melodyne integrates into other sequencing applications and Melodyne3 can read sound libraries created using Melodyne technology such as those of Ueberschall’s Liquid Instruments, thereby obtaining access to an almost inexhaustible supply of licks and phrases.

“The ability at last to apply Melodyne’s unique editing functions to any type of audio material is certainly the main argument for Melodyne3,” says Peter Neubäcker, the founder and mastermind of Celemony. “This uniquely flexible way of handling audio material will lead to a whole new style of working in the studio: with Melodyne3, the note-based rearrangement and remixing of songs are child’s play, and we’ve streamlined the workflow in numerous ways in response to requests from users. As a result, Melodyne is far simpler and more practice-oriented than ever before.” Melodyne3 studio (the full edition with the new polyphonic time stretching) costs 699 euros; the smaller Melodyne 3 cre8 319 euros. The upgrade to Melodyne3 costs registered cre8 users 99 euros and users of the studio edition 149 euros. It is available from music dealers or the Celemony web site. For purchases registered after the 1st September 2005, the upgrade is free. We've also prepared a description of the exact update procedure here.

Melodyne3’s functions A quick guide Very high quality time stretching and pitch shifting — even for polyphonic and complex audio material (Melodyne studio only) Whether the material contains block chords (homophony) or parts that are melodically and rhythmically independent (polyphony), Melodyne3 is able to apply pitch shifting, time stretching and quantization to it in real time — and the sound quality is all you would expect from Melodyne. This uniquely flexible way of handling audio material will lead to a whole new style of working in the studio: with Melodyne3, the note-based rearrangement and remixing of songs are child’s play, offering producers new creative options when dealing with harmonic tracks. Far more reliable note recognition The analysis now takes account automatically of the type of audio material, obviating the need for further programming. If you are batch processing a set of files of the same type, you can also create and store your own recognition templates. Macros for the correction of intonation and timing errors The macros introduced by Melodyne uno for the swift correction of notes that are out of tune or mistimed as well as for creative requantization are now also available in the multi-track versions. Simpler arrangement editing • New global tempo parameters in the Transport pane • New intuitive tempo control using the ‘Auto-stretch’ function • More efficient tempo control making the existing arrangement tools superfluous • Context-sensitive Move Notes tool • Tempo/Time signature changes can be typed in quickly in the Bar/Time ruler

More powerful editing functions • When you load a single audio file, the Editor opens automatically • Simpler export of edited audio files – all export parameters are set automatically to the correct values • Efficient combi-tools streamline the editing of pitch, formants, amplitude and time, making the existing tools superfluous • You can now access the commands in the tool-based action menus directly from the Edit menu, without needing to change tools • Blobs can be transposed using Local Sound Synthesis audition control • You can toggle between the two most recently used tools using a user-definable keyboard shortcut Data-related improvements • Batch processing in the Melody Manager • Compatibility with Liquid Sounds from Ueberschall Improvements in the layout and workflow • New navigation and zoom shortcuts in the Arranger and Editor • Grid size for editing can be set quickly in the Bar/Time ruler • Easy scrubbing with the Bar ruler in the Arranger and Editor • Track name boxes can be widened to make them more legible • Menu structure rationalized and expanded • Audio-to-MIDI and Play Algorithm parameters are in clearly laid out inspectors and always visible (if desired) Other improvements • Improved integration into host sequencers thanks to new Bridge and ReWire interfaces • Improved track sorting • Improved plug-in hosting • Improved drag & drop functionality You can find a detailed comparison of the functions of all versions of Melodyne here. System requirements PC: PII400 processor with at least 512 MB of RAM (1 GHz and 1 GB recommended), 32 MB graphic RAM, around 65 MB of free space on your hard disk, Windows XP. Mac: G3 (optimized for G5) with at least 512 MB of RAM (1 GB or more recommended), around 73 MB of free space on your hard disk, OS 10.3.9 or later

Questions about Melodyne 3 The developers provide answers… Melodyne 3 employs new algorithms that allow its analysis or 'detection' of the audio material to proceed automatically. What else is different about them? How does the automation work? Melodyne inventor Peter Neubäcker: In the earlier version, when an audio file was first loaded, you couldn't edit it straight away because it hadn't yet been detected (i.e. divided up into notes of a determinate pitch); before this could be done, you had to specify what type of audio material it was. Now the detection is performed automatically when the file is first loaded and Melodyne decides for itself how to proceed with the detection, based upon its own analysis of the material. The cre8 version differentiates automatically between melodic and percussive material and the Studio version between melodic, percussive and polyphonic. Not only does the new detection make it unnecessary to specify the nature of the material in advance; it also traces the pitch and locates the breaks between notes with far greater accuracy than the previous version; furthermore, the detection is performed now at such a speed that when you load a short file, you are scarcely aware the detection is even taking place. If you want to edit a large number of files of the same type, there is a new batch-detection mode that enables Melodyne to analyse the whole set of files in one go. Here, as in the earlier version, you are allowed to enter certain parameters, such as the expected compass of the material or the Sensitivity setting for the note separation. All this information can be saved in the form of user-defined parameter sets and used again later. In this way, if you know in advance what is required, you can tailor the detection to the material. However, in your day-to-day work with material that is diverse, you can safely leave the detection in Automatic mode. Is the detection invariably correct? If there are errors, what can you do about them? Peter Neubäcker: There is always going to be some audio material that is not detected with perfect accuracy, and if the pitch of a note is wrongly identified, the quality of the playback can suffer when the pitch or tempo of the material is later modified. But all such errors can be corrected at any time so as to obtain optimal results. It's also far easier to correct detection errors in Melodyne 3. Sometimes, for example, you don't notice that the pitch of a certain note has been wrongly identified until you have already begun editing. In the past when this happened, you had to open the MDD Editor, make the necessary corrections and then return to the Editor — only to discover sometimes that the editing you had already done had been lost. Now you can switch freely back and forth between editing and correcting detection errors without your workflow being interrupted. The Polyphony algorithm in the studio version is new. Is it based on the existing Local Sound Synthesis or does it function completely differently? How can you take full advantage of it? What things have to be borne in mind? Peter Neubäcker: The Polyphony algorithm is a further development of the existing Local Sound Synthesis. The most important thing they have in common is the fact

that they understand sound as something essentially local and independent of the original tempo. This means that it is not necessary to reprocess the entire audio file before alterations in pitch or tempo can be implemented; instead, you can change the tempo and pitch in real time and even bring the playback to a complete standstill on a single chord — a particularly impressive feature of polyphonic Scrub mode. For one-part vocal or instrumental solos, the existing Melodic algorithm remains the best choice, the point being that when transposing with the polyphonic algorithm, the formants are not preserved -- mainly because it is not clear in the case of polyphonic material what formant preservation would even involve. In almost all cases, however, Melodyne will already have selected the most suitable algorithm at the time of the detection; besides which, the user can change the setting at any time. Since even with the polyphonic algorithm the notes are separated and the tempo is freely variable throughout the recording, you can now quantize the timing or alter the entire rhythm of polyphonic instrument tracks and even an entire mix. The actual members of each chord, of course, are not detected individually, so you cannot turn a minor chord into a major. What you can do, however, is drag an entire chord within a track upwards or downwards, so that C Major, for example, becomes D Major or A Major. The playback algorithms have fewer parameters now. Has anything been lost in terms of flexibility when it comes to sound processing? Peter Neubäcker: The parameters of the playback algorithms can serve two completely different purposes: one is to allow the user to influence the way the sounds are formed, which is important from a creative point of view, and the other to allow you to adapt the algorithm to audio material for which it is perhaps not ideally suited. Now that the algorithm has been improved to the point that it finds the ideal settings automatically, such parameters are superfluous, which is why they have disappeared. An example of this is the parameter "Formant Shift Character" with the melodic algorithm ; this is now always set automatically to the optimum value; the same goes for the parameters "Stretch Position" and "Stretch Shape" with the percussive algorithm : these merely served in the earlier version to ensure that notes were only stretched in those places where it would be least noticeable. The new Poly/Percussive algorithm in the Studio version, however, is so sophisticated it can perform the stretching unobtrusively in any place, and these parameters, too, are therefore superfluous. This not only leads to better sound; it also means less work for the user. There are no tools any more in the Arrangement window and fewer in the Editor. Where are the functions to which the missing tools offered access? Product Manager Uwe G. Hoenig: It was our aim to reduce the number of tools for greater clarity and working speed, and to make the program easier for beginners to master. We did this by integrating functions in a different way and more directly into the user interface and combining tools sensibly — nothing has been sacrificed in terms of functionality as a result of these changes. A separate mode is now available for tempo editing and tempo definitions in the Arrangement window that

makes these procedures more transparent than in previous versions. Notes on the tracks can be moved directly; navigation within the program is now performed without separate tools, as are scrubbing and the playback of blobs. It's much the same story in the Editor, where the interface has been rationalized and the workflow streamlined through the use of context-sensitive, multifunction 'combi-tools'. The Bridge for integration into sequencing applications looks different now. Has anything changed under the bonnet? Or with ReWire? Head of Development Carsten Gehle: We have completely reworked the MelodyneBridge and ReWire integration from a technical point of view, so that both now make much reduced demands upon resources and operate more reliably. But here two things need to be understood: Both in Bridge mode and via ReWire, you in fact have two audio programs — the host application and Melodyne — running on a single computer. This, given the current state of the art, is a considerable burden to impose on any computer, which is why the number of tracks you can use is necessarily limited. For this reason, if you want to edit a large number of tracks in Melodyne, it generally makes more sense to run Melodyne in stand-alone mode. The ReWire interface is now well defined; they no longer keep changing it, so we can guarantee a secure connection with almost all hosts. With the MelodyneBridge the picture is rather different. The meshing required via a plug-in between the host program and Melodyne is highly complex, and both sides - Melodyne and the host application - have numerous protocols with which they have to comply. There's a problem here, for example, with the current Logic-7.1: with this version of Logic, the AU interface has been implemented in such a way that the time data Melodyne needs is no longer transmitted correctly. That means, unfortunately, that the Bridge to this version of Logic often breaks down and does not really run reliably. With this version, then, ReWire operation is a better bet. Apple's Development Department is aware of the problem and it can be assumed that it will be fixed in one of the next versions of Logic. Here, as Melodyne developers, we just have to rely upon the support of our colleagues at Apple.

That's Melodyne Audio without limits Thanks to its unique audio editing possibilities and its unrivalled sound quality, Melodyne is held in the highest esteem all over the world — by musicians, producers and sound designers; in studios for music, film music, radio and the production of high quality sample libraries. To those who know Melodyne, it is irreplaceable. Melodyne is the perfect tool for pitch shifting and time stretching in convincingly natural sound quality, for correcting the intonation and timing of singing, for audio quantization, producing harmonies, and remixing and restructuring the melody, tempo or timing of existing recordings. With Melodyne you can actually do the impossible — and do it easily.

Melodyne is intelligent: it recognizes the music in an audio file and represents it directly as notes; in this way, it offers highly intuitive and far-reaching access to the musical material and permits a sensationally flexible and creative way of working: with Melodyne, the music is in the foreground, not the technology. Melodyne comes in three versions for Windows XP and Mac OS X — from the single-track Melodyne uno to the multi-track Melodyne cre8 and the comprehensive Melodyne studio, with which you can edit any type of audio material and even entire songs. You can run Melodyne as a stand-alone application or else integrate it via ReWire, VST, RTAS, AU or DirectX into your production environment.

The idea Music instead of technology Melodyne is not like other audio programs. Melodyne 'understands' your audio material allowing you to shape its musical content with almost total freedom. Unrivalled musical editing possibilities, creative, quick and without technical ballast. Melodyne is considerably different from typical audio programs. The reason: Melodyne analyzes a loaded or recorded audio file and therefore recognizes its musical content. With one-part audio material, for example, Melodyne knows exactly what notes have been played or sung, where they begin and end, the nature of the transition between them, what the rhythmic relationship between them is, and more besides. Since Melodyne knows the meaning of the audio data, it depicts it not as a waveform like a conventional sequencer or editor but using the characteristic 'blobs' as well as traditional notation if desired. The consequence: you can grab and move audio notes to different pitches, stretch or compress them, make them louder or softer, and much more. Nowhere else can you find such effective and handy editing possibilities for audio material — and this with sound quality that has made Melodyne famous worldwide and the market leader.

Vocal editing Good, better, optimum With Melodyne, you can obtain the most from your vocal and instrumental recordings. Intonation and timing problems are solved with few mouse-clicks. Very intuitive, musical and unobtrusive. As though it had never been otherwise. Through its unique pitch-shifting and time-stretching capabilities, Melodyne is the ideal tool for improving individual tracks. Simply take hold of a note, move it to the perfect pitch or position, optimize its length or alter the intensity of its vibrato. Such corrections are absolutely unnoticeable; the musical message is preserved, because Melodyne adapts the note transitions and phrasing intelligently. So there are neither jumps nor the notorious Cher effect unless you want it… With the macros for pitch and time correction, decisive improvements are even made automatically — to individual notes, multiple notes or all the notes of a track according to choice. Melodyne knows which pitches are the correct ones and in which positions the notes ought to be. At the press of a button, Melodyne supplies the necessary corrections and provides for a perfect recording — even after the singer has already left the studio.

Composition Reconstruction and rebuilding With Melodyne, your audio recordings become flexible, stretchable, formable. Like clay in the hands of a potter. Like plasticine in the hands of a child. Vary and rearrange them, mould and reshape them, make them new. Very naturally. With Melodyne, nothing has to remain as it is. You can change a solo, a phrase, or a rhythm with playful ease. Melodyne's musical way of looking at the material comes to your assistance here: instead of making cuts somewhere in a wave form, you simply take one or several note blobs and move them to a different place. Or you copy them, paste them to a different position, and then transpose or vary the copy. You will be astonished at how natural it sounds. Whilst you shape your music almost without limits, Melodyne worries about the rest: if desired, the automatic scale adjustment prevents wrong notes; notes are stretched or compressed if need be when pasted, the problem of clicks does not arise, and even the tempo changes and variation of the song are automatically registered and compensated for when notes are moved and copied. That's how easy it can be.

Sound The essence With Melodyne, you dive into the sound of your recordings. Discover in microcosm the unsuspected life of sounds brought to a near standstill, make trumpets into trombones, kettledrums into triangles, male singers into female singers. Very simply. With Melodyne's outstanding time stretching and pitch shifting, you can vary and correct your audio material unobtrusively with the very best sound quality — but you can also use these possibilities for extraordinary transformations and effects. You can, for example, stretch a note to such an extent that a short sound is transformed into a fascinating, minute-long sound continuum. Even with such extreme stretching, the starting transients are preserved and the sound remains soft and round. With Melodyne’s formant parameters, which normally provide for the natural-sounding transposition of vocals and one-part instruments, you can influence the sound either subtly or drastically. The possibilities range from ‘sex changes’ with vocal material to a wide variety of other transformations that include the generation of extremely sharp and shrill sounds such as those produced by distorted electric guitars. The natural phrasing is retained despite even such drastic changes as these. Melodyne always works in a musical way.

Harmonies Virtual ensembles With Melodyne, you can produce from a single recording, doublings, second voices and vocal harmonies. 100% as though sung multiple times. Large choirs, fat strings, thick harmonies, a wall of sound. Totally genuine. With a few mouse-clicks, you can thicken your singing through doublings or allow a second voice to run with it at the octave. Melodyne can if desired provide slight random variations of pitch and timing so that it sounds natural. A few thirds below or above are just as quickly arranged. Melodyne knows the key and the scale; with Scale Snap it places the notes correctly automatically. As if by the hand of a ghost. Thanks to Melodyne’s formant parameter, the transposed voices sound exactly like the original or take on the character you wish – ideal conditions for the creation from one voice of entire choirs with natural sound behavior. Or brass sections from one trumpet, or a string quartet from one violin, or, or… For each solo instrument, Melodyne supplies you with the suitable ensemble.

Audio-to-MIDI The human machine With Melodyne, you transform audio into MIDI so exactly that every nuance of pitch, timing and volume is retained. Replace or double instruments with synthesizers. Control a sampler with vocals. Acoustic fuses with electronic. Melodyne can reproduce the detected melodies via MIDI – retaining at the same time very accurate pitch, dynamics, tempo and phrasing. Software instruments can be hosted directly in Melodyne and controlled using the Audio-to-MIDI function by Melodyne’s audio tracks. The small u-he synthesizer Podolski is installed at the same time with Melodyne cre8 and studio; so you can start immediately. You can also export the data generated with audio-to-MIDI as a MIDI file and edit it further in your sequencer; this opens many possibilities for creative arranging and sound design. Breathe new life into your synthesizers… In the other direction, almost all Melodyne parameters can be controlled remotely via MIDI and automated. You can use any MIDI controller you like for this; for particularly popular models, Melodyne comes with ready-made adaptations.

Integration Connection-friendly Melodyne is no island solution. With Melodyne, you remain in your production environment, since Melodyne integrates effortlessly via ReWire, VST, AU, RTAS or DirectX. Your system. Your workflow. Simply load the MelodyneBridge plug-in into your sequencer as an insert effect. Already both programs are connected and can exchange data. In this way, thanks to the connection via the MelodyneBridge plug-in, you can use the Melodyne functions whilst continuing to work with all the arrangement and mixer functions of your familiar sequencing software. It is also possible to establish a connection between Melodyne and corresponding programs via ReWire. Melodyne runs with... • Digidesign ProTools • Steinberg Cubase and Nuendo • Apple Logic 7.x • Cakewalk Sonar • Ableton Live • MotU Digital Performer • Propellerhead Reason and many other programs…

Sound library Ever fresh With Melodyne’s editing functions, you have at all times and for each need an endless number of audio phrases, licks and loops to hand. Tempo, key, melody and scale: everything fits. Always. With Melodyne, audio libraries awake to new life: you can keep altering the tempo, key and scale of a lick; completely restructure it; or combine several licks to create a new one. Your samples are only this flexible and alive with Melodyne. Adapted libraries like the Melodyne Sound Library and others offer high quality recordings that can be varied in many different ways and that are optimally tailored to this way of working. So you can arrive at a natural and perfectly suitable result, without flesh-and-blood instrumentalists. With Melodyne’s Melody Manager, you can navigate comfortably through audio libraries and audition samples. You see not only the waveform of the samples but also the detected notes and can drag whole samples or individual notes from them into your arrangement or the Editor of Melodyne. If desired, tempo, pitch and scale are at the same time automatically adjusted to the current settings.

Crossing borders Melodic, polyphonic, rhythmic With Melodyne, you do not just edit melodies but all the tracks of your production in an unrivalled way. Regardless of whether melodic, polyphonic or rhythmic. This is what the future of audio looks like. You will not want to go back. In Melodyne 3 studio, you can edit not only single-voice signals such as vocals or saxophone in unattained flexibility and sound quality but also recordings of harmonic instruments like guitar or piano – and even complete mixes of entire pieces. The new algorithm of Melodyne 3 studio will open wholly new possibilities for the handling of audio. You have to hear this to believe it. Transposing or altering the tempo of tracks of all kinds in the best sound quality is very useful – but only the beginning. What if you could also make individual guitar chords quieter or louder by dragging with the mouse? Or transpose them, shorten them or lengthen them, copy them or paste them somewhere else with a perfect fit? Shuffle the recordings of a band or hard-quantize them? Use the drum track as a groove reference for the quantization of the piano track? Or the other way about? With Melodyne, the extent to which notes are in tune or in time is not left to chance. Regardless of what material you are working with.

Remix Access With Melodyne, music is wax in your hands. Alter melodies, harmonies or entire arrangements. Fuse several songs into a new one; collage them; remix them. With all power and all possibilities. With its special editing possibilities, Melodyne is a remix tool of superlative quality. Make the tempo of different samples and entire pieces the same without effort. Take hold of parts or individual blobs from pieces and combine them to make something new, without worrying about cutting and clicks. Create radio edits in almost no time at all or club mixes in different tempos and keys. Remodel the rhythm, harmonic sequence or melody of your remix elements. Requantize grooves, change rhythms, produce unusual breaks and effects. With Melodyne, you have all the musical parameters in your hands – and you can make things fit that in fact do not fit together.

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