IntroductionWelcome| 00:04 | Hi! I'm Skye Lewin, and welcome to
Melodyne Studio Essential Training.
| | 00:08 | In this course, we'll look at the different
variations of Melodyne and how to use them
| | 00:12 | to alter pitch and time in a
recorded musical performance.
| | 00:16 | We'll start by setting up a session and
then familiarizing ourselves with the software
| | 00:20 | and how to navigate within it.
| | 00:23 | Then we'll see how to use the many tools in
Melodyne, including the Edit Pitch tool and
| | 00:27 | Move Notes tool to alter the pitch and
rhythm of a monophonic performance, and we'll see
| | 00:32 | how to use the revolutionary Direct Note
Access or DNA to edit a polyphonic pitch recording.
| | 00:38 | (music playing)
| | 00:41 | We'll walk through a real-world example
of editing a vocal performance with
| | 00:45 | Melodyne, and we'll explore the various ways that
you can use Melodyne in conjunction with your DAW.
| | 00:50 | We'll also see how we can use MIDI to edit
and perform a recorded vocal, as well as how
| | 00:56 | to use an audio recording to send MIDI that
can trigger an instrument or sound module.
| | 01:02 | Last, we'll look at exporting our work.
| | 01:04 | We'll be covering all of these features,
plus we'll look at several different workflows
| | 01:08 | and techniques so that you can
choose which one best suits your needs.
| | 01:11 | Now let's get started with
Melodyne Studio Essential Training.
| | 01:16 |
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| Introduction to Melodyne variants| 00:00 | Before we start let's take a quick look
at the different variants of Melodyne.
| | 00:04 | If you like you can look at Celemony.com and
compare the different versions of their product.
| | 00:09 | Melodyne Editor is the newer version of
Melodyne which offers a very unique and
| | 00:13 | powerful new tool that they
called DNA or Direct Note Access.
| | 00:16 | We'll get into this more later, but
this allows you to edit single notes within
| | 00:20 | a polyphonic context.
| | 00:22 | So perhaps if you perform something on
guitar, and you accidentally played a
| | 00:25 | minor chord instead of a major chord,
using Melodyne Editor you can change that
| | 00:30 | one note to make the chord what you intended.
| | 00:33 | Another thing to note is that
Melodyne Editor has a 30-day free trial.
| | 00:36 | So if you don't have Melodyne and you
want to check it out for this course, you
| | 00:40 | can download Melodyne Editor.
| | 00:42 | Melodyne assistant is essentially a
stripped-down version of Melodyne Studio.
| | 00:46 | It offers you what they are calling a
mid-range from melodic and rhythmic materials.
| | 00:50 | So you can edit pitch and rhythm, but
you can only edit one track at a time.
| | 00:54 | Melodyne essential is essentially their
entry level just has the basic tools you
| | 00:59 | need to edit pitch and rhythm.
Melodyne studio is Celemony's flagship program.
| | 01:04 | Melodyne studio gives you all of the
tools you need to edit pitch and rhythm,
| | 01:08 | and it also gives you the ability to
edit multiple tracks in the same session.
| | 01:12 | If you want, you can take a look at
the product comparison on Celemony's web
| | 01:15 | site, or you can see their
different versions side by side.
| | 01:19 | One another note is that if you do
have or purchase Melodyne studio, it does
| | 01:23 | include Melodyne Editor, and so if you
have a Melodyne studio you'll be able to
| | 01:26 | follow along with everything in this course.
| | 01:29 | We'll get into the specifics of
Melodyne Editor--also known as Melodyne
| | 01:32 | singletrack--as well as the specifics of
Melodyne studio throughout this course.
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| Installing and authorizing Melodyne| 00:00 | You may already have Melodyne
installed, but if you don't let's look at
| | 00:03 | installing and authorizing the application.
| | 00:06 | If you don't already have it downloaded,
go to Celemony.com, and here you can
| | 00:10 | download a trial version or you
can purchase and download Melodyne.
| | 00:14 | When you purchase and download any
version of Melodyne, Celemony gives you a
| | 00:18 | unique installer that's named
using your Celemony user account.
| | 00:22 | Once you've downloaded the
installer, we can open it.
| | 00:25 | In this case, we'll install Melodyne studio, but
the same steps will apply to any version of Melodyne.
| | 00:30 | So the Melodyne installer is
much like any other installer.
| | 00:33 | You've probably seen these
screens many, many times.
| | 00:35 | Let me just walk through the steps.
| | 00:37 | Make sure you accept
your User License Agreement.
| | 00:40 | Make sure your Install Location is set,
and you have enough disk space, then we
| | 00:44 | can choose to Install.
| | 00:48 | Once Melodyne is installed, I would
recommend opening the Disk Utility
| | 00:51 | application and repairing your permissions,
although you don't have to do that right now.
| | 00:56 | Let me close our window and eject
the Melodyne disk, and we can launch
| | 01:00 | Melodyne to activate it, and you can
just select the Melodyne folder by typing
| | 01:04 | the first few letters.
We'll launch Melodyne.
| | 01:08 | Now if you've downloaded a trial version,
you'll get a temporary activation, but
| | 01:12 | if you've purchased Melodyne, you
can activate it in one of several ways.
| | 01:16 | First, you can authorize via iLok or
you can authorize the application directly
| | 01:20 | on up to two computers, and right now
we're going to do the second method.
| | 01:22 | So I'm going to check the box next to, I
would like to activate Melodyne on this
| | 01:26 | computer online or off-line
and register with myCelemony.
| | 01:30 | If you wanted to use an iLok
instead, you'd check the other box.
| | 01:32 | We'll Continue, and here we'll
need to enter our serial number.
| | 01:36 | Right now, we're going to activate
Melodyne online, but if you're not connected
| | 01:40 | to the Internet, you may choose
instead to activate Melodyne off-line, and we
| | 01:44 | can Continue, enter your administrator Password.
| | 01:48 | Once Melodyne is activated on your
computer, you can close this window, and
| | 01:52 | you're free to use Melodyne.
| | 01:54 | Last, if you decide that you want to
deactivate Melodyne for some reason, you
| | 01:58 | can do this by selecting the
License option from the Window menu.
| | 02:02 | Here, you can again choose to
Deactivate Melodyne, perhaps if you're buying a
| | 02:06 | new computer, and you want to
activate it on a different computer instead.
| | 02:09 | Now that we're up and running, let's get to work.
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| Using the exercise files| 00:00 | If you're a Premium member of the
lynda.com online training library, or if
| | 00:04 | you're watching this tutorial on a DVD
-ROM, you have access to the exercise
| | 00:08 | files used throughout this title.
| | 00:10 | As we move forward in this course,
we'll be using this song Say Yes from the
| | 00:13 | vocalist Eoka, who is an
underground Sun recording artist.
| | 00:17 | Eoka has allowed me to use the
elements from her song Say Yes in this course,
| | 00:21 | and I'd like to point out that the
lead vocal that we're going to be playing
| | 00:24 | with is actually not her performance.
| | 00:27 | I've butchered it and essentially
made it sound out of tune so that we have
| | 00:30 | something a little bit better
to work with in this course.
| | 00:33 | You can hear Eoka's actual
performance by checking out the song on iTunes.
| | 00:37 | Let's open our exercise files folder,
and here we can see the different elements
| | 00:41 | that we'll be using in this course.
| | 00:43 | From the top to bottom, we have our
Background Vocals, which contains 6
| | 00:47 | Background Vocal parts.
| | 00:49 | Below that we have our Instrumental
Elements, which contain a section of the
| | 00:52 | Intro Piano and the Verse
1 Acoustic Guitar track.
| | 00:56 | We'll be using these when we look at
DNA or Direct Note Access in Melodyne
| | 01:00 | Editor, also known as Melodyne Singletrack.
| | 01:03 | The Lower Instrument Elements folder we
have the Say Yes_Instrumental, which is
| | 01:07 | a stereo instrumental of the entire
song, essentially everything except the
| | 01:11 | vocals, and below that we have the Lead
Vocal_Example file, which is my altered,
| | 01:16 | butchered performance so that
we have something to clean up.
| | 01:19 | Last, in our Sessions folder, we have
an example session file that has all the
| | 01:23 | audio tracks already imported.
| | 01:26 | If you are a Monthly number or
Annual member of lynda.com, you don't have
| | 01:30 | access to the exercise files, but you
can follow along from scratch with your own assets.
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1. Getting StartedChoosing the best workflow for a project| 00:00 | So what is Melodyne?
| | 00:01 | Melodyne is essentially a tool that
allows you to edit the pitch or change
| | 00:06 | the pitch and the timing or the
rhythm of a performance once it's already
| | 00:10 | been committed to audio.
| | 00:11 | So if you have a vocal recording, you
can use Melodyne to edit or enhance or
| | 00:16 | change the pitch and rhythm of that
performance by changing the audio itself.
| | 00:21 | Now depending on the workflow that
you have and the scenario that you find
| | 00:24 | yourself in with any given project,
there are several different ways that you
| | 00:28 | can use Melodyne to its best advantage.
| | 00:30 | First, if you have a multi-track
session, and you plan on editing
| | 00:34 | multiple, monophonic or stereo
audio files, at the same time, you would
| | 00:38 | want to use Melodyne Studio.
| | 00:39 | Now if you only have one track that
you want to edit, you can pretty much use
| | 00:42 | any version of Melodyne that you have.
| | 00:44 | Now if you have polyphonic session,
which means you have audio content that has
| | 00:49 | more than one note playing at a time,
such as a guitar performance that includes
| | 00:52 | chords and more than just a single note
melody, and that is since you would want
| | 00:56 | to use Melodyne Editor which is
also known as Melodyne Single Track.
| | 01:00 | Depending on which version of Melodyne you choose
to use, there are several different ways to use it.
| | 01:05 | Now first, you can use what I call a
Standalone Workflow and in this workflow
| | 01:10 | essentially what you're doing is you're
exporting all of the audio material from
| | 01:13 | your DAW, and then importing it
into Melodyne to make your changes.
| | 01:18 | Once you've made your changes, you're
then exporting the changed material and
| | 01:21 | pulling it back into your DAW once it's done.
| | 01:24 | For example, if you have a stereo
instrumental of the band and a lead vocal,
| | 01:29 | you can export both of those, pull them
into Melodyne, make your changes to the
| | 01:34 | lead vocal, export it from Melodyne, and then pull
it back into your DAW as a final corrected vocal.
| | 01:40 | Another workflow which allows you to
work with your DAW and Melodyne at the same
| | 01:45 | time in real-time is to use Melodyne Bridge.
Like Melodyne Bridge you can also use ReWire.
| | 01:51 | Using ReWire or Melodyne Bridge with
Melodyne Studio allows you to edit multiple
| | 01:56 | channels or multiple tracks
in real-time with Melodyne.
| | 02:00 | And using Melodyne Bridge or ReWire
with Melodyne single track allows you to
| | 02:04 | edit a single track at a time, but it
allows you to edit polyphonic material.
| | 02:08 | And the last way that you can use
Melodyne is with the Melodyne Plug-in, and
| | 02:12 | this is great when you just have a
small quick change that you want make, you
| | 02:15 | can just instantiate the Melodyne
Plug-in, make the change, and it essentially
| | 02:18 | plays back the corrected pitch in real-time
in place of the actual pitch that was recorded.
| | 02:25 | We'll get into the specifics in more
detail later in this course, where we're
| | 02:28 | going to dig into Melodyne a little more first.
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| Creating a new session and exploring essential preferences| 00:00 | Let's first create a new session.
The first thing we want to do is open Melodyne.
| | 00:04 | I'm on a Mac, so the best way for me to
do this is to launch Melodyne from the
| | 00:07 | Applications folder unless you have a
shortcut or a faster way of doing it
| | 00:11 | that you like to use.
| | 00:12 | From the Finder the easiest way to get
to the Applications folder is to select
| | 00:16 | the Go menu and choose Applications,
you can also do this with the key command
| | 00:20 | Shift+Command+A. Once you're in the
Applications folder, you can scroll down
| | 00:25 | until you see the Melodyne 3.
| | 00:27 | 2 folder or you can also just type
the first few letters of the item you're
| | 00:31 | looking for, and it will select it.
| | 00:34 | Once we find Melodyne let's launch the
application, and let's create a new session.
| | 00:40 | So let's select the File menu in
Melodyne and choose New Arrangement which is
| | 00:44 | Command+N on Mac or Ctrl+N in Windows,
and let's save our new arrangement.
| | 00:50 | Again, from the File menu, you can select
Save Arrangement or you can use the key
| | 00:53 | command, Command+S on Mac or Ctrl+S on Windows.
| | 00:58 | And I'm going to save this in our
exercise files folder, and you can save this
| | 01:01 | wherever you like on your computer.
| | 01:03 | For now I'm going to call
this Melodyne Studio and Save.
| | 01:07 | Now that we've created and saved our new
session let's take a quick look at some
| | 01:12 | of our setup and preferences.
| | 01:13 | From the Melodyne menu select
Preferences, in our Hardware settings you'll need
| | 01:19 | to select the Device Driver that
allows you to hear the Output of Melodyne.
| | 01:22 | Now you can use Built-in Line Output,
which is what we're using for this
| | 01:25 | session, and that allows you to hear
the output of Melodyne through the line
| | 01:29 | output of your computer.
| | 01:30 | But if you have a third-party audio
interface, you may want to select the driver
| | 01:34 | that allows you to use that interface instead.
| | 01:36 | And you'll also want to select a Sample
Rate that's going to work with the audio
| | 01:39 | material that you're going to be using.
| | 01:41 | For this course our audio material is
at 48 kHz, so we would select 48 kHz.
| | 01:47 | Now for the purposes of recording this
course, we are setting our Sample Rate
| | 01:51 | elsewhere, so we won't see the Sample
Rate change here, but if you're going
| | 01:55 | to set the Sample Rate on your session, you
would click the Sample Rate menu and select 48 kHz.
| | 02:00 | Now let's click the Hardware
dropdown menu in the Preferences and select
| | 02:04 | Recording, and you can also choose here
the audio File Format and the Resolution
| | 02:09 | or Bit-Depth of the audio
that we'll be working with.
| | 02:12 | So if you wanted to select WAVE files
instead of AIFF, you could choose WAVE
| | 02:16 | from the list, and if you wanted to
select a different Bit-Depth or Resolution,
| | 02:20 | you can also choose that
from this dropdown menu.
| | 02:22 | In this course, we'll be using 24-bit audio,
so let's leave it at 24-bit linear PCM.
| | 02:28 | The last thing I want to point out in
the Preferences for now is the Audio
| | 02:31 | Folder for unsaved Arrangements.
| | 02:33 | It defaults to the Melodyne folder in the
Music folder in your User folder at least on a Mac.
| | 02:38 | Now you may want to change this
location perhaps to the directory where
| | 02:43 | your project lives.
| | 02:44 | If you have an external hard drive or
on a different hard drive, the idea being
| | 02:48 | that if you have a session in a
different location you may want to keep your
| | 02:51 | Melodyne audio files in the same
location as your session so that they don't get
| | 02:55 | lost or perhaps overwritten at a later date.
| | 02:58 | So we'll come back to look into the
rest of the preferences in greater detail,
| | 03:01 | but first, we're going to
explore the interface further.
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| Creating, moving, and deleting tracks| 00:00 | Now that we've created a new session and
saved it, let's take a look at creating
| | 00:04 | and moving tracks within the Arrangement window.
| | 00:06 | Now the Arrangement window is the first
window in Melodyne that you're presented
| | 00:09 | with when you create a new session.
| | 00:11 | You can also select the Arrangement
window by going to the Window menu and
| | 00:16 | choose Show Arrangement.
| | 00:18 | In the Arrangement window, you can
see that there were eight tracks created
| | 00:22 | automatically when we created the new session.
| | 00:25 | What we want to do now is look at
how to create more tracks, move these
| | 00:28 | tracks or delete tracks.
| | 00:30 | Now, one thing to point out is that
when you import audio, which we will
| | 00:34 | get into in a later video, it will
automatically use the first, second,
| | 00:38 | third, fourth all the way up to eighth
available track without creating new tracks first.
| | 00:43 | So, if you know you're going to
import eight audio files into your Melodyne
| | 00:46 | Studio session, you don't need
to delete these eight tracks.
| | 00:49 | First, because they'll automatically
get used, but if you know you're only
| | 00:53 | going to be using say two tracks in
your session, perhaps you want to delete
| | 00:58 | the remaining six tracks, so first let's take
a look at how to delete a track in Melodyne.
| | 01:03 | First thing we'll do is select the
track, which you can do by clicking on the
| | 01:06 | space underneath the track name where
the Solo Mute and Record button is, and
| | 01:11 | you can see that a box presents itself
around that track showing you that it's selected.
| | 01:15 | Once you've selected the track that you
want to delete, you can select the File
| | 01:18 | menu and choose Remove Selected Track or
use the key command, Command+Minus on a
| | 01:23 | Mac, or Ctrl+Minus on Windows and the
selected track has then been removed.
| | 01:28 | Now if you want to move a track, simply
select the track that you want to move
| | 01:32 | like we just did, and drag it up or
down to move it higher or lower in your
| | 01:36 | arrangement, and you can see that it
shuffles below the track that you just
| | 01:39 | moved it below, and moving
it back up, the same thing.
| | 01:43 | The last thing that we'll do
is look at creating new tracks.
| | 01:46 | In case you need to create a new track
for perhaps copying and pasting part of
| | 01:50 | your arrangement later, because typically when
you import your audio, it will create a track for it.
| | 01:55 | But the way to create a new track
is to select the File menu and choose
| | 01:59 | Insert Empty Tracks or use the key
Command, Command+Plus on a Mac, or
| | 02:03 | Ctrl+Plus on Windows.
| | 02:06 | This brings up an Insert Tracks dialog
where you can choose how many tracks to
| | 02:09 | insert and where to insert them.
| | 02:12 | So, we'll just make one, and we'll put
it below the selected track, and you can
| | 02:15 | press OK, and you now have a
New Track 1 that was created.
| | 02:19 | Now that we've covered the basics of
getting setup and manipulating tracks in
| | 02:23 | the Arrangement window, we'll move forward
and explore the interface in greater detail.
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2. Setting Up and Working with SessionsImporting audio for the stand-alone workflow| 00:00 | In this chapter, we'll get started by
importing audio into Melodyne Studio.
| | 00:05 | Now before we get to this point in your
workflow, you will have already prepared
| | 00:09 | and exported the audio files
that you want to use in Melodyne.
| | 00:12 | For example, if you had three audio
tracks that you wanted to import into
| | 00:16 | Melodyne, you would have already
exported those into the proper File Type, with
| | 00:21 | the proper Bit-Depth and the
proper Sample Rate for using Melodyne.
| | 00:24 | Now because you're using Melodyne as
a stand-alone editor to work with your
| | 00:29 | existing project from your DAW, what
you really want to do is make Melodyne
| | 00:34 | settings mirror the settings from your DAW.
| | 00:36 | So, if you're working on a session
that's 24-bit and 48 kHz, you're going to
| | 00:40 | want to make Melodyne mirror that by setting
it to 24-bits and 48 kHz as we did earlier.
| | 00:48 | So, now let's look at how we would
import audio for our Standalone Workflow.
| | 00:51 | So, we're going to go up to the File
menu, we're going to choose Import Audio
| | 00:56 | file, you can also use the key
command, Shift+Command+O on a Mac, or
| | 01:01 | Shift+Ctrl+O on Windows.
| | 01:04 | So now let's select the
couple of tracks to import.
| | 01:07 | First let's select our
instrumental and our lead vocal example.
| | 01:11 | So our instrumental is a stereo file,
which is an instrumental that includes our
| | 01:15 | drums and our bass, and basically all
of the instrumental elements of the song
| | 01:19 | that we'll be working with.
| | 01:20 | And the lead vocal example is our example
lead vocal that we'll be using in this course.
| | 01:24 | So, you can select multiple files at
a time by holding the Shift key and
| | 01:29 | selecting them both, and let's Open,
so when you importing an audio file into
| | 01:34 | Melodyne, the pitch detection will
occur on import using whichever preset is
| | 01:38 | selected in your preferences, and we'll
get into more detail on that in a later
| | 01:42 | video, but for now, we're going to leave
it at the default preference, and we're
| | 01:46 | going to let it detect pitch as
the session imports the audio files.
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| Identifying elements in the session folder| 00:00 | Now that we've setup a session and
imported audio into our session, let's look
| | 00:04 | at the elements that were created.
So first, go to your exercise files folder.
| | 00:08 | If you saved your Melodyne session
to the Desktop or any other location,
| | 00:12 | it won't be where it is on my system,
but when I saved it, I saved it into
| | 00:15 | the Sessions folder.
| | 00:17 | In that folder is where you'll see my
Melodyne Studio.mar, which is the project file.
| | 00:22 | I am going to close that window and back
in the exercise files, you can see that
| | 00:27 | below the lead vocal and the
instrumental are a file with the extension .mdd,
| | 00:32 | and whenever you import audio into
Melodyne, Melodyne creates these files and
| | 00:37 | they store the pitch and timing
information for the edits that you make to the
| | 00:40 | audio from the referenced audio file.
| | 00:43 | So, if you imported these two audio
files directly from the exercise files
| | 00:47 | folder like I did, you will see that
these two files were created in this
| | 00:51 | location just like you see in my folder.
| | 00:53 | Now if you had copied those files to
another location, those two mdd files will
| | 00:58 | be created wherever those files live.
| | 01:01 | If you wanted to keep things nice and
compact, before importing the audio, you
| | 01:04 | could move the audio into a subfolder
in your Sessions folder, and perhaps
| | 01:09 | create an audio files folder with your
Melodyne session, and therefore, your
| | 01:13 | mdds would be written in that
location where the audio files were moved.
| | 01:18 | The cool thing about this is that you
can import audio from anywhere, you don't
| | 01:22 | have to have it in the exact same
location that your Melodyne Session is stored,
| | 01:26 | but you do have to be careful when doing
this that you don't lose track of where
| | 01:30 | those audio files live, because if you
do move the Melodyne Session file without
| | 01:34 | those audio files, you will not be able
to find them the next time you open it.
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| Exploring the Arrangement and Editor windows| 00:00 | Now let's take a look at the difference
between the Arrangement window and the
| | 00:03 | Editor window in Melodyne.
| | 00:05 | When you start a new session, the Arrangement window
is what you see when you first start the session.
| | 00:09 | So right now we're looking at the
Arrangement window, and in this window, you
| | 00:13 | can see all the tracks that we have in
our session and all the empty tracks
| | 00:17 | that are automatically created already.
| | 00:19 | First let's quickly make
this a little easier to look at.
| | 00:22 | You can tell we're pretty zoomed in,
and you can see the bars up top which
| | 00:25 | indicates how far our zoom level is.
| | 00:28 | But to make this easier to see let's
zoom in a little bit on the waveform.
| | 00:32 | So at the bottom of our window, you can
see where our scrollbar is a miniature
| | 00:36 | waveform that represents the entire
length of the session, and this is a really
| | 00:40 | cool feature in Melodyne, because you
can see that the scrollbar itself really
| | 00:44 | just represents a window into the
magnification level of our entire session.
| | 00:49 | What that scrollbar is showing us is
that our Arrange window displays from left
| | 00:54 | to right just the amount of
waveform that we see in that scrollbar.
| | 00:57 | So if we grab the scrollbar and move it
to the right, we will see the waveform
| | 01:02 | of our selected vocal moving across
the screen, and we're only seeing what's
| | 01:06 | going to fit right underneath
the waveform in that preview.
| | 01:09 | Now if wanted to zoom in--which we'll
probably do to make things a little easier
| | 01:13 | to view--you can move your cursor to
the left-hand side of that scrollbar, and
| | 01:16 | you'll see that your cursor
turns into a magnifying glass icon.
| | 01:20 | If you click and drag to the left, you
can see that the selection expands, and
| | 01:25 | as it does so, the Arrange window zooms
out to show more of what we're looking at.
| | 01:30 | So essentially our Arrange window is
kind of like the Edit window in Pro Tools
| | 01:34 | or the Arrange window in Logic that
shows us all of our tracks, and it shows us
| | 01:38 | how things are arranged.
| | 01:39 | Now the Edit window is where
we'll actually do most of our editing.
| | 01:42 | There are a couple ways to open the Edit window.
| | 01:45 | First, you can go to Window menu and
choose Show Editor, where you can use the
| | 01:50 | key command Shift+Command+E on a Mac,
or Shift+Ctrl+E on Windows, and the
| | 01:56 | Editor window will open.
| | 01:58 | One thing that I want to point out is
that whatever track is selected in the
| | 02:01 | Arrangement window is the track that you'll
be viewing when you open the Editor window.
| | 02:05 | Again, if we scroll across this audio
file in the Editor window, we can now see
| | 02:11 | the pitch associated with this track,
and this track is our Lead Vocal, as you
| | 02:15 | can see in the title of the window.
| | 02:18 | So now we can close this window, and
I'll show you another way to get here.
| | 02:21 | So you can close it by using the key
command, Command+W or Ctrl+W or we can
| | 02:25 | click the red X and we're
back in the Arrangement window.
| | 02:29 | A second way to get into the Editor
window from the Arrangement window is to
| | 02:33 | double-click on one of the regions
in the track that you want to edit.
| | 02:37 | If you're on your on Lead Vocal track,
and you want to edit the Lead Vocal, you
| | 02:40 | can double-click one of the regions
from the Lead Vocal, and it'll open a new
| | 02:43 | Editor window with the Lead Vocal displayed.
| | 02:46 | Now let's close our Editor window one
more time, and there's one more thing I
| | 02:49 | want to show you, but first I'd
like to import a couple more tracks.
| | 02:52 | Let's go to our File menu, Import
Audio File, and this time we're going to
| | 02:57 | select our Background Vocals
folder in the exercise files.
| | 03:01 | You can import all of them if you want.
| | 03:03 | I'm just going to import two for now,
and again it's going to show the pitch
| | 03:07 | detection progress as the file opens
unless you've the Preference set to Not
| | 03:12 | automatically to detect pitch, and again,
we'll get into that in a later video.
| | 03:16 | So now that we see these two new
tracks that were added to our Arrangement
| | 03:20 | window, you can see both of the Background
Vocal tracks underneath our Lead Vocal track.
| | 03:25 | Let's go back into our Editor window,
and you can see that the Editor window
| | 03:30 | opens with the selected track, which in
this case is the second of my Background
| | 03:33 | Vocals that I just imported.
| | 03:35 | So I'm going to zoom in a little bit,
and I want to point out the two pop-up
| | 03:39 | menus in the top right-hand
corner of the Editor window.
| | 03:43 | On the far right, you'll see a pop-up
menu that shows the name of the track that
| | 03:47 | we're working on, or as Melodyne
says Select the Current Melody.
| | 03:51 | This is the melody that you're
actually going to be editing in the Editor.
| | 03:54 | So if you choose this pop-up menu, you
can choose any of the tracks that are
| | 03:59 | currently in your Arrangement window,
and view that track in the Editor window.
| | 04:04 | I'm going to look at the Lead Vocal.
| | 04:06 | So select your Lead Vocal, and you can
now see that the Lead Vocal is displayed.
| | 04:10 | I'm going to scroll down a little
bit so that we can see it a little more
| | 04:14 | centered. And if you notice, the Lead
Vocal is shown highlighted, while the
| | 04:18 | Background Vocal that we were
previously viewing is still visible, but it's a
| | 04:23 | lighter yellow color, and
it's pushed to the back.
| | 04:26 | What this means is that you're still
seeing everything in the arrangement that
| | 04:29 | you had already selected, but
you're actually editing the ones that's
| | 04:33 | highlighted, which in
this case is our Lead Vocal.
| | 04:35 | If I wanted to add to what I'm seeing,
the other background, which in this
| | 04:39 | case is BV1a, you can select that, and
now I can see that that is active, but
| | 04:45 | I can still see the Lead Vocal and the
second Background Vocal, BV1b, in my Editor window.
| | 04:51 | So, we'll get into this more later, but
this is a very handy way for comparing
| | 04:55 | multiple backgrounds that maybe are
supposed to be the same rhythm and maybe are
| | 04:59 | slightly out of rhythm from one another.
| | 05:02 | Being able to visually see both of the
different tracks that you want to edit
| | 05:06 | side by side, makes your
editing task a little easier.
| | 05:09 | Now the second pop-up menu, which is to
the left of the Melody Selection menu,
| | 05:13 | allows you to choose what you want to
Play while you're in the Editor window.
| | 05:18 | Now currently Play visible to selected.
| | 05:20 | What that means is that all of the
visible tracks will be played when I play back.
| | 05:25 | So if I place my cursor at a location
where all three files should play, we can
| | 05:29 | have a quick listen and hear that all
three files will play, because we have the
| | 05:33 | option to Play visible selected.
| | 05:36 | (music playing)
| | 05:41 | So now you could hear the two background tracks
and the Lead Vocal all playing simultaneously.
| | 05:45 | Let's look at the other options in here.
| | 05:47 | We can choose Play selected, which
only will play the track that's in the
| | 05:51 | foreground or the one you're editing.
(music playing)
| | 05:58 | Or Play arrangement, which
will play everything in the
| | 06:03 | Arrangement window that is not muted,
regardless of what you're looking at
| | 06:06 | in the Editor window.
| | 06:08 | So now we'll also show
the instrumental track play.
| | 06:11 | (music playing)
| | 06:19 | So I'm going to switch to Play
tracks mode back to Play visible.
| | 06:21 | I'm going to close the Editor window.
I'm going to Save my session real quick.
| | 06:26 | So now that we've taken a look at the
Arrangement and Editor windows in Melodyne,
| | 06:30 | let's move on and take a
look at the Mixer window.
| | Collapse this transcript |
| Exploring the Mixer window| 00:00 | In this video we're going to take a
quick look at the Mixer window in Melodyne.
| | 00:04 | Let's open the Mixer by going to
the Window menu and choosing the Mixer
| | 00:09 | option or you can use the key
command, Shift+Command+M on the Mac, or
| | 00:13 | Shift+Ctrl+M on the Windows.
| | 00:16 | And once we're in the Mixer window,
you'll see a fairly familiar environment.
| | 00:19 | On the bottom you'll see the track name
just above it you'll see Solo, Mute, and
| | 00:24 | Record Enable, and then just
above that you'll your fader level.
| | 00:28 | One thing that's really important to
know about Melodyne is it if do change the
| | 00:32 | fader level to get a good working mix,
when you're done, and you export the
| | 00:35 | audio, the level of your fader will
affect the level of the exported audio.
| | 00:40 | So if you are going to change the
fader levels just keep in mind that you may
| | 00:43 | want to reset them to 0, before you
export your audio, if you want to your
| | 00:47 | exported audio to match the
level of the imported audio.
| | 00:50 | Now depending on your workflow, this
maybe not an important, but it's something
| | 00:54 | very important to keep in mind
about the way Melodyne works.
| | 00:57 | Moving up just above the fader we have
our pan and just above that we have an
| | 01:02 | indicator menu that shows whether a
track is a Stereo track or a Mono track.
| | 01:08 | Above that we have our Output and
the Input which is currently disabled.
| | 01:12 | We have our Aux Send, and just above
that is where we can assign plug-ins.
| | 01:17 | And we currently don't have any plug-ins
enabled, so there's no plug-ins to choose from yet.
| | 01:21 | But we're going to come back and
look at plug-ins in a later video.
| | 01:25 | Just above our plug-ins we've our EQ
section, from the pop-up menu you can
| | 01:29 | choose which type of EQ you want to use with
the Preset of High Shelf, Peak, or Low Shelf.
| | 01:34 | So depending on what your goal is,
you can choose one of those types of EQ.
| | 01:38 | And then you have your Gain,
your Queue, and your Frequency.
| | 01:42 | In the right side of the Mixer you see
your Configure menu which allows you to
| | 01:46 | configure what's viewable in the Mixer.
| | 01:48 | Here you can Hide EQs, Hide Inserts,
Hide Aux Sends, choose to Show or Add Group
| | 01:54 | Tracks and Instrument Tracks.
| | 01:56 | And you cloud also Show the EQ
Graph, which is a cool feature.
| | 02:00 | Below that you've your Aux and
your Outputs and Record Monitor.
| | 02:04 | With Record Monitor enabled, whenever
you're recording a track, you're going to
| | 02:08 | hear any enabled Plugins, Sends
or EQs on the recorded signal.
| | 02:13 | One thing to keep in mind though is
that you'll also hear with the latency
| | 02:17 | associated with using that EQ, Send or Plug-in.
| | 02:20 | Now the on Master Levels is just below that, and
you can see that there are two separate faders.
| | 02:25 | With the Sync Faders box Checked,
changing your Master Level will change both
| | 02:30 | the left and right channels by the same amount.
| | 02:33 | If you uncheck the Sync Faders button,
you have separate control over your left
| | 02:37 | channel your right channel.
| | 02:39 | Now depending on your workflow, you
probably won't want to mix your project in
| | 02:42 | Melodyne, but you can certainly get a great
sounding working mix with the tools provided.
| | Collapse this transcript |
| Exploring the Transport window| 00:00 | In the Transport window, we have
control over our transport but also over
| | 00:04 | several other important settings.
| | 00:06 | So first let's open the Transport window.
| | 00:09 | Under the Window menu, you can select
Transport bar, or you can use the key
| | 00:13 | command Shift+Command+T on a Mac, or
Shift+Ctrl+T on Windows, and a familiar
| | 00:18 | Transport bar will open.
| | 00:21 | In this Transport bar, you can set
Cycle which will essentially loop a
| | 00:25 | selection, you can set
your Punch In and Punch Out.
| | 00:28 | You can also synchronize Melodyne using
different sync settings which we'll get
| | 00:32 | into a little bit more later.
| | 00:34 | Along the bottom of the Transport bar
you'll see the familiar Rewind, Fast
| | 00:38 | Forward, Stop, Play, Record, and Locate
to Beginning and Locate to End buttons.
| | 00:43 | So you can use these to play or rewind
or stop a record or you can also set key
| | 00:48 | commands which we'll look at later or
use the default key commands, whatever the
| | 00:51 | workflow is that best suits your needs.
| | 00:54 | On the right-hand side of the Transport
you'll notice the meter which is for
| | 00:58 | this song 4/4 and the tempo.
| | 01:00 | Now let's enter a tempo of 77 which
is the tempo of the material we'll be
| | 01:04 | working with--and then you
can hit to Return to enter it.
| | 01:08 | You'll notice when we change tempo
that the ruler in the background of our
| | 01:11 | Arrangement window changes to match
this new tempo, and you can now see that it
| | 01:15 | kind of matches our musical material a
little better where now our music starts
| | 01:19 | at bar 3 with 2 bars of
silence before the first note.
| | 01:24 | Now, another really cool feature in
Melodyne is Autostretch, and we can take a
| | 01:28 | quick look at that now.
| | 01:29 | So if you enable Autostretch, and
then change the Tempo--let's make it a
| | 01:34 | drastic change just so you can really
easily see it. Let's enter 120 again, and
| | 01:39 | hit Return. Melodyne will change and essentially
stretch all of the audio to match the new tempo.
| | 01:45 | So now that we've set it to 120 beats
per minute, our session will actually play
| | 01:50 | back that musical material at the faster tempo.
| | 01:53 | If we were to play this, we'll now
hear that the music is playing back faster
| | 01:56 | than it was before, but
the pitch will stay the same.
| | 01:59 | (music playing)
| | 02:04 | So now if we set it back to
its initial tempo of 77, we can
| | 02:09 | hear the correct tempo.
(music playing)
| | 02:14 | Let's turn off Autostretch since
we're not going to use it in this session.
| | 02:19 | One last thing I want to point out is the Click.
| | 02:20 | So you can enable the Click, and just
like in any other DAW, you will hear an
| | 02:25 | actual click on each beat.
(music playing)
| | 02:31 | You can also change the level of the
Click to make it softer or louder.
| | 02:39 | Now that we've seen the main workspace
windows in Melodyne, let's look at some
| | 02:42 | other important parts of the interface.
| | Collapse this transcript |
| Changing pitches and formants with realtime play offsets| 00:00 | The Realtime Play Offsets in Melodyne
are incredibly powerful because they
| | 00:03 | allow you to change the pitch or time
of a session either globally for the
| | 00:08 | entire session or per track.
| | 00:11 | So perhaps one of your tracks in
your Melodyne session has a piano that
| | 00:15 | was just out of tune.
| | 00:17 | Maybe everything else in your session is at
440, but your piano is just a little bit flat.
| | 00:22 | So if you wanted to pull the piano up
to match the pitch of the rest of the
| | 00:24 | session, you can use a
Realtime Play Offset to do that.
| | 00:28 | Let's take a look at our Realtime Play Offsets.
| | 00:30 | Under the Window menu, you can choose
them, Realtime Play Offsets, or you can
| | 00:35 | also open the window using the key
command Shift+Command+G on a Mac, or
| | 00:38 | Shift+Ctrl+G on Windows.
| | 00:41 | And here you can see little dropdown
menu where you can either choose to apply
| | 00:44 | these settings globally or
only on the selected track.
| | 00:48 | Let me change the pitch in cents, so first
let's have a quick listen to our pitch again.
| | 00:53 | (music playing)
| | 00:57 | If we wanted to change that up
by a half step, we could enter
| | 01:00 | 100 cents and listen to the change.
| | 01:03 | (music playing)
| | 01:08 | We can also reset that by
clicking the Reset button.
| | 01:11 | Another useful Global Offset is the Formant.
| | 01:14 | The formant allows you to edit the
timbre of the vocal without changing the
| | 01:17 | pitch, so you can essentially make
the pitch sound like it's coming from a
| | 01:21 | larger or smaller throat if
we're talking about a vocal.
| | 01:25 | So let's have a quick listen to that,
and we're going to come back and play with
| | 01:27 | formant more later in the course.
| | 01:30 | So first, I'm going to zoom into a
section where I have some vocals selected
| | 01:34 | let's take a listen to our unaffected vocal...
(music playing)
| | 01:39 | In fact, I'm going to solo it so
I can just hear that one element.
| | 01:43 | (music playing)
| | 01:46 | So if we want to give this
vocal a darker timbre, we can
| | 01:50 | choose our Formant in our Realtime
Play Offsets, enter -200 which will pitch
| | 01:56 | the formant down or change the formant by
200 cents, and let's have a listen to that.
| | 02:03 | (music playing)
| | 02:07 | So as you can hear, the pitch
is still the same, but the sound
| | 02:10 | of the vocal is a little bit darker.
| | 02:13 | If we wanted to go the other direction,
let's have a listen to a little bit brighter.
| | 02:17 | (music playing)
| | 02:22 | Let's again reset that, and
just like we played around with
| | 02:25 | Autostretch, we can change the Tempo for
everything globally by changing the tempo here.
| | 02:31 | I'm going to unsolo this so we can hear
everything in the Arrangement, go back
| | 02:35 | to a familiar section, and play our instrumental.
| | 02:38 | (music playing)
| | 02:40 | Again, 120 beats, let's go back
to our 77, and then let's look at
| | 02:45 | our Selected Track settings.
| | 02:47 | So here for a selected track, I can
reset the pitch and the formant to a unique
| | 02:50 | value that only affects that one track,
or as you can see now, with the Globals
| | 02:55 | box currently checked, the selected
track will follow the Global settings.
| | 03:00 | One last thing that's very useful about
the Realtime Play offsets is the ability
| | 03:03 | to fix them to the arrangement
or make them permanent.
| | 03:07 | If for example, we had changed the
tempo of the entire song, maybe we wanted to
| | 03:11 | change the tempo to 81 beats per minute and
actually export our finished work at that new tempo.
| | 03:18 | As these are Realtime Play Offsets, they are only
going to affect what we're hearing while we're working.
| | 03:23 | So, if you want to actually export these
changes, we need to fix them to the arrangement.
| | 03:28 | By clicking Fix to Arrangement,
we'll commit these changes.
| | 03:31 | As you can see, these settings can be very helpful
in many situations when working in Melodyne.
| | Collapse this transcript |
| Managing audio files| 00:00 | In the Audio Files window you can manage
the audio used by your Melodyne session.
| | 00:05 | Let's open this window by clicking on
the Window menu and selecting Audio Files.
| | 00:10 | Also in Melodyne Studio you can set
a shortcut key to open this window.
| | 00:14 | We'll get into shortcut keys in a later video.
| | 00:17 | So in this window, you can see on
the left-hand side the Referred Files,
| | 00:22 | these files are files that are not stored in
your Audio folder, but are used by the session.
| | 00:27 | So in the case of this example, we've
imported the audio directly from where it
| | 00:31 | lived in the exercise files folder.
| | 00:33 | Now if we had instead copied that audio
into an Audio Files folder next to our
| | 00:38 | Melodyne project, the files would show
up in a different location and would not
| | 00:41 | be considered Referred Files.
| | 00:43 | Let's look at some of the information
that we can see from our Audio Files window.
| | 00:48 | You can see the Name of the file, you
can see the Location, where it's expected,
| | 00:52 | in this case in our User folder
and our exercise files subfolder.
| | 00:57 | And on the bottom you can see more
information about the Duration in seconds,
| | 01:01 | the number of Samples contained in that
duration, our Sample Rate of 48 kHz, and
| | 01:08 | the file Size and the Format and Bit-
Depth, also you can see whether it's a
| | 01:12 | stereo or mono file.
| | 01:14 | In the dropdown menu on the top right-
hand corner of the Audio Files window,
| | 01:18 | you'll see File Operations, such as
Copy Selected Referred Audio Files to Audio
| | 01:23 | Folder or Move Selected
Referred Audio Files to Audio Folder.
| | 01:26 | You can also use this menu to Delete
Selected Unused Files from the Audio Folder.
| | 01:32 | Let's take a quick look at what this means.
| | 01:34 | If we were to select one of the audio
files from the Referred Files list in our
| | 01:38 | Audio Files window, we could choose
to either Copy that file into our Audio
| | 01:42 | Files folder or to Move that
file into our Audio Files folder.
| | 01:47 | If we copy it, the original will remain
in our exercise files folder but if we
| | 01:51 | move it, the original will no longer
be in the exercise files folder and will
| | 01:55 | only live in our Audio folder.
| | 01:58 | You may also want to delete a file
from the Audio folder if you are no longer
| | 02:01 | using it in your Melodyne Arrangement,
and that's where this Delete Selected
| | 02:04 | Unused Files from Audio
Folder option may come in handy.
| | 02:09 | It's always important to keep your
audio assets well-organized and Melodyne
| | 02:12 | provides the tools to help you do
this with the Audio Files window.
| | Collapse this transcript |
| Exploring Melodyne's menus| 00:00 | We've seen most of Melodyne's windows,
so now let's take a quick look at the
| | 00:03 | rest of the menus in Melodyne.
Under the Melodyne menu, you'll see Preferences.
| | 00:09 | You can also find out About Melodyne,
to find out what version you're running.
| | 00:13 | In the File menu, you can do things
like create new arrangements, open existing
| | 00:17 | arrangements or recent arrangements,
and you can open the Melody Manager.
| | 00:21 | The Melody Manager in Melodyne is a
cool tool that allows you to keep track of
| | 00:25 | various melodies you have used in
different sessions along the way.
| | 00:28 | Here, you can also import audio,
insert or remove tracks, and save the
| | 00:33 | arrangement, or save a copy of the
arrangement, export your audio, save audio to
| | 00:37 | MIDI or revert your session to a saved
copy. And again, we'll get into most of
| | 00:41 | this further along in the course.
| | 00:44 | Under the Edit menu, you can undo and
redo, you can access your undo history,
| | 00:49 | and you can revert to the
audio file in its original state.
| | 00:52 | You can also reset the position if
you've moved it, you can cut, copy, paste,
| | 00:57 | delete, and perform special
pastes and special selections.
| | 01:01 | You can also edit and reset the Pitch,
Formant, Amplitude, Notes Time, and Note
| | 01:09 | Separations as well as change the tempo
for Autostretch, and define the tempo,
| | 01:14 | perhaps your detection detected where
an eighth note should have been a quarter
| | 01:18 | note or your quarter note
should have been an eighth note.
| | 01:20 | So you can use the double or half tempo
features to reset this to the proper value.
| | 01:26 | We can also use Variable Tempo Editing
mode, and we can also correct pitch and
| | 01:31 | quantize time in batches
which we'll also get into later.
| | 01:35 | Under the Definition menu, we can
save the MDD from the current edit state
| | 01:39 | which will save a new MDD with exactly the
current state of the edits we've done to date.
| | 01:44 | We can also reset our detection to
Melodic, Percussive, or Polyphonic Modes,
| | 01:49 | and we can completely redetect the
audio file as well as selecting new
| | 01:53 | detection parameter sets.
| | 01:55 | And again, we'll get into most
of this in further detail later.
| | 01:58 | Under the View menu, we can turn
on and off viewing preferences like
| | 02:02 | Autoscrolling, showing the pitch
curve or note separations at all times,
| | 02:07 | showing the Play Algorithm Parameters
and Audio-to-MIDI Parameters as well as
| | 02:11 | showing Pitch Notation on the selected track,
and showing score notes on the selected track.
| | 02:17 | Here, you can also set your SMPTE type
which we'll get into a little bit later
| | 02:21 | when we talk about sync.
| | 02:23 | And as for Navigation, here we can
create markers, scroll to or zoom to markers,
| | 02:28 | or delete markers, and under our MIDI
menu, we can choose what MIDI options
| | 02:33 | we're going to be working with.
| | 02:35 | And again, we'll be digging into more
of our MIDI options later in the course.
| | 02:40 | And most importantly, if you're
learning Melodyne, you can always find help
| | 02:44 | under the Help menu, and you can
actually open the Manual from the
| | 02:47 | Documentation submenu.
| | 02:49 | And again, we'll dig into many of
these options in more detail once we
| | 02:52 | start working with audio.
| | Collapse this transcript |
| Exploring view options| 00:00 | Before we move on to using our editing
tools, let's finish setting up our session.
| | 00:05 | First let's look at our View options.
| | 00:07 | Under the View menu we
have our Autoscrolling option.
| | 00:11 | With Autoscrolling enabled the page
that we're viewing will jump to the next
| | 00:14 | page when the playback cursor
reaches the end of the current page.
| | 00:17 | So let's take a look at how this works.
| | 00:19 | I'm going to locate the cursor closer
to the end of the current page just so we
| | 00:23 | can get there quicker,
and I'm going to press Play.
| | 00:25 | (music playing)
| | 00:30 | And as you can see, when the
cursor reaches the end of the
| | 00:33 | current page, it's going
to jump to the next page.
| | 00:36 | Now if we turn this option off,
playback will continue, but our view will stay
| | 00:41 | on the first page without
jumping to the next page.
| | 00:45 | We can also, Always Show the Pitch Curve,
which we need to be in our Editor view
| | 00:49 | to see, so let's open the Editor view,
and we can now see lines on top of
| | 00:53 | each of the blogs or notes, and what these
lines are showing us is the curve of the pitch.
| | 00:59 | So this can be turned on or off by
selecting the option Always Show Pitch Curve
| | 01:03 | from the View menu or by using the Key Command.
| | 01:06 | So if turn it off, we'll see
that this pitch curve goes away.
| | 01:09 | Likewise, we can turn on and off
Always Show Note Separations.
| | 01:14 | One thing to note with the Always Show
Note Separations feature is that when
| | 01:17 | we're using the main tool or when
using the note separation tool, the note
| | 01:21 | separations are always going
to be visible no matter what.
| | 01:24 | However, if you switch to a different
tool, the Note Separations will disappear
| | 01:29 | unless this option is enabled.
| | 01:31 | So let's turn this option off on a
different tool, and we'll see that our Note
| | 01:35 | Separations are no longer visible.
| | 01:38 | We can also show our Play Algorithm
Parameters and make changes and then hide
| | 01:42 | them through the View menu, which can
be done by selecting Show Play Algorithm
| | 01:46 | Parameters from the View menu
or by using the key command.
| | 01:50 | We're going to revisit Audio-to-MIDI
Parameters later when we talk about using
| | 01:53 | MIDI later in the course.
| | 01:55 | One last thing we're going to look
at now is showing Pitch Notation on
| | 01:58 | selected Tracks and Showing Score Notes.
| | 02:00 | So the Pitch Notation is pretty much always
going to be what you want to view in Melodyne.
| | 02:05 | What this does is it shows the pitch
of each section of your melody on the
| | 02:09 | proper note so that an A is aligned with
the note A on a piano roll to the left,
| | 02:15 | and likewise the note G is aligned to
the note G in the piano roll on the left.
| | 02:19 | Now if we turn this option off, you'll
see that all of the notes, no matter what
| | 02:24 | their pitch are displayed in a single
line, much like a traditional waveform.
| | 02:29 | So I'm going to turn back on Showing
Pitch Notation on the selected Track.
| | 02:33 | If we want to show the Score Notes,
you can select Show Score Notes from the
| | 02:37 | View menu, and we'll see an overlay at the
top the Editor window with our Score Notes.
| | 02:42 | We can also close this window and Show
Score Notes in our Arrangement window,
| | 02:48 | which will show us an overlay of
the notes right on top of each track.
| | 02:52 | You can certainly work without these
settings, but you may find that certain
| | 02:55 | combinations improve your
efficiency and workflow.
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| Using markers| 00:00 | In Melodyne just like in most DAWs, you can
use markers to help you navigate more quickly.
| | 00:05 | So first let's look at creating a marker.
| | 00:08 | There are a couple of ways you
can locate the start of the marker.
| | 00:11 | One is to go to your Transport window
which you can select from the Window menu,
| | 00:16 | and you can set the beginning to the
desired bar, so in this case I want to make
| | 00:20 | my first marker at bar 3, and you can
hit Return, and you can now see the left
| | 00:25 | side of where our selection
will be has been moved to bar 3.
| | 00:29 | Likewise, you can set the end here by
typing in a number, in this case let's
| | 00:32 | type bar 70, and let's close the Transport bar.
| | 00:36 | So now, when we make a new marker,
either by selecting Create Marker from
| | 00:40 | the Navigation menu or by using the
key command, Option+C or Alt+C, a new
| | 00:46 | marker will be created that starts with our
start selection and ends with our end selection.
| | 00:52 | So this new marker that I'm making is
now a selection of the entire song, so
| | 00:56 | let's call it Full Song or
something along those lines.
| | 01:00 | So now let's zoom elsewhere in the
session and return to our beginning marker
| | 01:05 | by selecting that marker from the list.
| | 01:07 | So we'll select the Navigation menu and
choose Scroll To > Full Song, and we'll
| | 01:12 | be located back to the beginning of that marker.
| | 01:15 | So if we wanted to make a second
marker that was perhaps just where the vocal
| | 01:19 | came in or maybe the beginning
of a verse, we can find that spot.
| | 01:22 | (music playing)
| | 01:24 | In this case at bar 7,
move the left section of our
| | 01:29 | selections to bar 7, find our out point, which
maybe in this case would be the end of the verse.
| | 01:36 | (music playing)
| | 01:39 | Or in this case let's move it
to right here, and we can either
| | 01:42 | enter it manually or by dragging that
marker, but in this case, since the right
| | 01:47 | selection marker is at the very end of
the session, it will be quicker just to
| | 01:51 | enter the bar number from the transport bar.
| | 01:53 | So I'm going to enter bar 11, and I can
see that my right selection marker has
| | 01:59 | moved to bar 11, and I can now create
a new marker, which I'll using the key
| | 02:02 | command, Option+C or Alt+C, and
I'll title this marker and Verse 1.
| | 02:07 | Now that we've two markers in our system,
when we go to Navigate and Scroll to,
| | 02:11 | we can either choose to navigate to
the first marker, which starts at the
| | 02:15 | beginning of our song, or to our
second marker, which starts at Verse 1.
| | 02:19 | Another handy feature is the Zoom to.
| | 02:22 | With Zoom to, we can not only locate to but
also view the entire selection of the marker.
| | 02:28 | So, if we want to choose Zoom to >
Full Song, not only will it locate the
| | 02:33 | beginning of our selection, but it'll
also show us in our Arrangement or Editor
| | 02:36 | window the entire selection of that marker.
| | 02:39 | Likewise, if we want to select Zoom to >
Verse 1, it will show us again the same
| | 02:45 | full zoom for our Verse 1 marker selection.
| | 02:48 | Last thing we can do with markers is
Delete an Unused Marker, if you no longer
| | 02:52 | need one of these markers, you can just
choose to delete it by selecting it from
| | 02:56 | the Delete Marker submenu,
and it will no longer be there.
| | 02:59 | In the next video we'll look at
our scrolling and zooming options.
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| Scrolling and zooming| 00:00 | In addition to using Markers to help
us navigate more quickly, we can easily
| | 00:04 | change or scroll in Zoom options.
| | 00:06 | On a Mac holding Command will convert
the main tool into a Hand Grabber tool so
| | 00:11 | that you can move your window
left, right, and up and down.
| | 00:16 | The same thing applies on
Windows by holding Ctrl.
| | 00:18 | If you hold Command+Option on a Mac,
or Ctrl+Alt on Windows the same tool
| | 00:24 | will turn into a magnifying glass, so
you can zoom out by moving the cursor
| | 00:28 | to the left, zoom in by moving it to
the right, and zoom out and in by moving
| | 00:34 | the cursor up and down.
| | 00:36 | Note that moving the cursor up and down
with the Zoom tool will only zoom in and
| | 00:40 | out on the track over
which the cursor is placed.
| | 00:44 | In addition to using the Scroll tool
and Zoom tool functions that we learned
| | 00:47 | about earlier with Markers we can also
use a few key commands to move forward,
| | 00:51 | backwards, up and down within our session.
| | 00:54 | On a numeric keypad if you press the
number 6, your view will jump 1 to the
| | 00:58 | right, the number 4 will jump you back
to the left, number 2 will move you down
| | 01:04 | and number 8 will move your view up.
| | 01:07 | You can also turn on and off Auto
Scrolling like we learned about earlier, if
| | 01:11 | you want your page view to change as
you're playing back to always show you the
| | 01:15 | section of the arrangement that is being played.
| | 01:17 | It's often useful to leave this
option off when you're editing so that the
| | 01:21 | part that you're editing is not jumping out
of view while you are trying to work on it.
| | 01:25 | As we'll learn later you can assign
shortcut keys to these items that you
| | 01:29 | use most frequently.
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| Setting the tone scale, meter, and tempo| 00:00 | Before we start working, we want to
set the Tempo and Meter for our session.
| | 00:03 | Depending on the project, you may
also want to set the Tone Scale.
| | 00:07 | We've already set the Tempo,
but let's look at doing it again.
| | 00:10 | We're going to open our Transport
bar, and we can choose the Tempo by
| | 00:14 | double-clicking and entering the number here.
| | 00:17 | Likewise, we can set the Meter for our
project by setting the number of beats
| | 00:20 | per bar and the value of those beats.
| | 00:24 | In this case, our Tempo is 77 and
the value of our tempo is 4/4 time.
| | 00:29 | One other setting that you may or
may not always use is the Tone Scale.
| | 00:33 | Under the Window menu, you
can select the Tone Scale.
| | 00:37 | You can also set a shortcut for this if
you find it that you use it frequently,
| | 00:40 | and we'll talk about how to do that later.
| | 00:42 | Here, you can choose the type of scale
you're working with, whether it's major
| | 00:46 | or minor or any of the various modes.
| | 00:49 | You can also choose the tonal
center or the tonic of your key.
| | 00:53 | So if you know your song is in G, you
can assign that the key is G, if you know
| | 00:58 | it's Major or Minor, you
can assign Major or Minor.
| | 01:02 | You can also further control the type
of tuning that's used within your scale,
| | 01:06 | if you wanted to use Equal Temperament,
Pythagorean, MeanTone, Pure Ratio or
| | 01:11 | even customize it even further.
| | 01:13 | Usually, we are not going to need to go
that far in depth, but this can be very
| | 01:16 | useful if you know that the specific
song you're working on only contains
| | 01:19 | certain notes or perhaps is at
a certain type of tone scale.
| | 01:24 | You can still work without setting
the Tempo, Meter, and Scale, but setting
| | 01:27 | them can improve your ability to make
changes because it gives you a visual
| | 01:30 | reference as you work.
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| Setting the loop/session boundary locators| 00:00 | If you're working on a specific section
of the song, you may find that you want
| | 00:03 | to loop that region.
| | 00:05 | You can set the cycle boundaries just
like we did earlier when making markers.
| | 00:09 | You can go to the Transport, and you can set
with a numeric value the In and the Out Points.
| | 00:15 | So, for example, let's set it to 3 for
the In Point, and for now let's make it 5
| | 00:22 | for the Out Point, so we
just have a two-bar selection.
| | 00:24 | And with Cycle enabled we can now
cycle that section of our arrangement.
| | 00:30 | (music playing)
| | 00:37 | This is going to be really
handy if you're working on a very
| | 00:40 | specific part of your arrangement or
just a specific section of the song, and
| | 00:44 | just want to hear it over and over
to perfect whatever you're working on.
| | 00:48 | A second way that you can set these is
by simply clicking and dragging to move
| | 00:53 | the left or start location,
and the right or end location.
| | 00:59 | One other thing that's very important
when you're exporting, and we'll touch on
| | 01:02 | this when we cover exporting is that
you can use the cycle points for exporting
| | 01:06 | selections between locators.
| | 01:09 | This can be a very handy feature if you only
want to export a specific section of your song.
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| Working with multiple tracks| 00:00 | If you're going to be working with
multiple tracks, you need to choose the
| | 00:03 | proper version of Melodyne.
| | 00:05 | Melodyne Studio allows you to work with
multiple tracks within the same session.
| | 00:09 | That's not the case with Melodyne Editor or Singletrack
or Melodyne Assistant or Melodyne Essential.
| | 00:15 | We'll look at how to edit multiple
tracks in various different workflows,
| | 00:19 | including Standalone, using ReWire or
Bridge in later videos, but for now let's
| | 00:23 | just take a quick look at
keeping our tracks arranged.
| | 00:26 | This is really just a matter of
preference, the important thing is that you can
| | 00:30 | find your tracks quickly, and then you can
find and locate what you want to edit quickly.
| | 00:35 | I personally like to keep my
instrument track on the top, my lead vocal below
| | 00:39 | it, and then, any
backgrounds or harmonies below that.
| | 00:43 | If you have lots of tracks in your
session, you may want to shrink the view so
| | 00:47 | that you can see an overview
of all of those tracks better.
| | 00:51 | At this point we only have four in our
session, and we can see them all just fine.
| | 00:55 | But if you do have a lot more tracks,
it will be much easier if you can see
| | 00:58 | everything in your Arrange window,
and then when you go into your Editor
| | 01:01 | window you'll just be working on one
track or two or three tracks at a time,
| | 01:05 | keeping things more simple.
| | 01:06 | And we'll walk through all of this in
later videos as we actually get into editing.
| | 01:10 | By keeping your session well organized,
you'll be able to get into the fun and
| | 01:14 | creative part of your
editing session much more quickly.
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|
|
3. Editing AudioSetting up a new session and importing audio| 00:00 | In this chapter, we're going to learn
about Melodyne's tools, and then actually
| | 00:04 | start doing some editing.
| | 00:05 | So first let's setup a new session, I
am going to create a new session with the
| | 00:08 | key Command Command+N or Ctrl+N, and
I'm going to save it into the Sessions
| | 00:12 | folder in our exercise files,
and I'm going to call this Melodyne
| | 00:16 | Studio_Exercise, and I'm going to save it there.
| | 00:21 | And let's open or import our audio
files, which I'm going to do with the key
| | 00:24 | command Shift+Command+O or Shift+Ctrl+O.
So let's first import our instrumental
| | 00:30 | and lead vocal, so I'm going to select
both of them by holding Shift pressing
| | 00:34 | the down arrow and Return to open.
| | 00:37 | And again Melodyne will detect the
pitch and rhythm as it opens these file.
| | 00:41 | You can open these files individually if
you prefer to do it one at a time as well.
| | 00:46 | Now that we have our instrumental and
our lead vocal in, I'm going to pull in
| | 00:49 | our background vocals.
| | 00:50 | So again I am going to open the same
Open dialog, I'm going to navigate to the
| | 00:54 | Background Vocals folder in the
exercise files folder, and I'm going to select
| | 00:59 | all of the Background Vocals.
| | 01:02 | If you're creating a new session along
with me and importing all of these audio
| | 01:05 | files just keep in mind that it may take
a little while for Melodyne to open all
| | 01:08 | of the files and redetect the
pitch and rhythm for each file.
| | 01:11 | Now that we've created a new session
there is a couple of things I want to do
| | 01:15 | real quickly just to make our
workflow later a little smoother.
| | 01:19 | So the first thing I'm going to do is go
back into our Transport bar and set the
| | 01:23 | tempo to the proper
tempo of 77 beats per minute.
| | 01:27 | Again I can see my ruler adjusts
matching the new tempo, and I'm going to make
| | 01:32 | a marker that sets the in and out
points, so I can quickly view the entire
| | 01:36 | session all in one glance.
| | 01:37 | So again, may I go back to my
Transport bar, set my marker at bar 3 to start,
| | 01:43 | and I believe it was bar 70 to end,
and I'm going to create a new marker with
| | 01:47 | the key command Option+C or Alt+C,
and I will call this Full Song.
| | 01:53 | I should now be able to view my entire
song by selecting Zoom to > Full Song
| | 01:59 | from the Navigation menu.
| | 02:01 | And as you can see, I now can see
the entire song right in front of me.
| | 02:04 | One last thing I'm going to do, I'm going
to change the location of the song start.
| | 02:11 | I can do this by scrolling left until
I see the little number 1 by bar 1, I
| | 02:16 | can then click on it and slide it to where
the actual first bar of my arrangement starts.
| | 02:20 | So now, rather than having my
arrangement start on bar 3, my arrangement now
| | 02:24 | starts on bar 1, which means I need
to re-create my marker, so I'm going to
| | 02:28 | go back into Navigation > Delete
Marker > Full Song and create a new marker
| | 02:34 | that now starts at bar 1 and ends at bar 68,
since I've shifted everything two bars earlier.
| | 02:41 | So I'll create my new marker Option+C
or Alt+C and label it Full Song, and now
| | 02:46 | we can see the full song starting at bar 1.
| | 02:48 | Now I'm going to save my session and
all these changes will be saved with it.
| | 02:54 | Now if you're opening this file from
the exercise files there are a couple of
| | 02:58 | things that you may need to keep in mind.
| | 02:59 | First, since you're working from a
different hard drive and a different
| | 03:02 | computer, it's possible that the
Melodyne session file will not find the audio
| | 03:06 | files right off the bat.
| | 03:08 | If that's the case, you'll be presented
with a pop-up asking you to locate one
| | 03:12 | or more of the audio files.
| | 03:14 | Just find the file in your finder by
locating the Exercise File folder, and then
| | 03:18 | Melodyne will do the rest.
| | 03:20 | Likewise, since we're not including
the MDD files along with the audio files,
| | 03:25 | if you're opening this file from your
exercise files folder, Melodyne will
| | 03:28 | recreate each of the MDD files when it opens.
| | 03:31 | So it may take a little bit longer to
open the first time, but on subsequent
| | 03:34 | launches it will open very quickly.
| | 03:37 | Now that we've set up our new session
that we're going to work with through
| | 03:39 | our editing chapter, let's take a look
in the next video at note blobs, and
| | 03:43 | then get into our tools.
| | 03:44 | But first I just want to point out that
with Melodyne, just like any other DAW, we
| | 03:48 | have nondestructive editing at our fingertips.
| | 03:51 | This is very useful because it not only
gives us the option to attempt various
| | 03:55 | edits, and then undo them if we don't
like the result, but it also saves us,
| | 04:00 | because if we do make a mistake we
haven't painted ourselves into a corner.
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| A look at note blobs| 00:00 | In Melodyne the note blobs is the
equivalent of a region's waveform.
| | 00:04 | The note blob displays all of the
information we'll need in order to edit the
| | 00:07 | pitch and the rhythm of our audio.
Let's take a look at the note blob.
| | 00:11 | In the Arrange window we can see the
waveform of our instrumental track, if
| | 00:15 | we double-click on it to open the
Editor window, we can see another waveform
| | 00:18 | this shows note blobs for each of the auto-detected
rhythm sections of this instrumental track.
| | 00:23 | Let's close this, zoom a little later
in the track, and look at our lead vocal
| | 00:29 | in the Editor window.
| | 00:30 | Here we can see the note blob showing
the pitch of each note within our melody.
| | 00:35 | One thing that we'll see as we move
forward in this chapter is that the
| | 00:37 | data displayed on top of the note blob will
change depending on which tool is selected.
| | 00:42 | For example, if we select the Edit Pitch tool,
we can see the Pitch Curve will be shown.
| | 00:48 | However, if we're using a different
tool we can still choose to always show the
| | 00:51 | pitch curve by enabling
that option in the View menu.
| | 00:55 | So, for example, if we select our
Formant tool we can see the formant
| | 00:59 | information displayed.
| | 01:00 | If we select our Amplitude tool, we
see the amplitude information which is
| | 01:04 | always displayed because it is
represented by the height or fatness of each blob.
| | 01:10 | Choosing our Move Notes tool shows us
another overlay and choosing our Note
| | 01:14 | Separation tool shows us the note separations.
| | 01:16 | And again the note separations can always be
shown by selecting Always Show Note Separations.
| | 01:21 | In this case they will be shown no
matter what tool we have selected.
| | 01:24 | So you can see that note blob is a
very versatile information display.
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| An overview of Melodyne's tools| 00:00 | Throughout this chapter, we're going to
delve into the individual tools in Melodyne.
| | 00:04 | So let's take a look at where they can be found.
| | 00:06 | First in the Editor window, which you
can open by double-clicking a region or
| | 00:10 | selecting the key command, Shift+Command+E
or Shift+Ctrl+E, you can see on the
| | 00:14 | top-left corner is our Editing tool palette.
| | 00:17 | You can also select individual tools
or change tools by right clicking and
| | 00:21 | selecting from the pop-up
menu which tool you want to use.
| | 00:25 | By opening the MDD Editor from the
Definition menu, you can see a similar set of
| | 00:30 | tools in the upper-left-hand
corner of this Editor window.
| | 00:33 | I'll close these two.
| | 00:36 | In addition to selecting the tools
from a pop-up menu, you can also assign
| | 00:40 | shortcuts, which we'll get to in a later video.
Now let's take a look at each individual tool.
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| Using the Pitch tool and subtools| 00:00 | The Pitch tool is our main tool
for editing the center of the pitch.
| | 00:03 | So let's open our Editor window--
I'm going to use the key command,
| | 00:06 | Shift+Command+E or Shift+Ctrl+E on
Windows, and from our dropdown menu on the
| | 00:11 | top-right let's choose our Lead Vocal.
| | 00:13 | I'm going to scroll over a little bit
to the right until I can see some of
| | 00:17 | the material on the vocal track, and
I'm going to select my Pitch tool by
| | 00:21 | either clicking the Pitch tool in the
toolbar on the top-left corner of the
| | 00:24 | Editor window, or by right-clicking
and selecting the Pitch tool from the
| | 00:28 | pop-up window.
| | 00:30 | With the Pitch tool, we can simply
move a note up or down to the nearest
| | 00:33 | half-step by simply clicking
the note and dragging it up.
| | 00:36 | (music playing)
| | 00:37 | Or by clicking it and dragging it down.
| | 00:39 | (music playing)
| | 00:40 | If we want to move the pitch up or down
by sense rather than semitones, we can
| | 00:44 | click and hold the Option key,
and then move the note up or down.
| | 00:48 | (music playing)
| | 00:51 | This allows us a lot
more fine-tuning control over the pitch.
| | 00:54 | So I'm going to undo this so that our
pitch is back to its original center, and
| | 00:58 | then double-clicking with the Pitch
tool will allow me to snap the pitch to the
| | 01:01 | closest center, essentially
quantizing it to the nearest pitch.
| | 01:05 | Now let's select the Pitch Modulation
tool either through the pop-up menu or the
| | 01:09 | palette on the top-left
corner of the Editor window.
| | 01:11 | Using this tool, we can click and
drag up or down to flatten or exaggerate
| | 01:17 | the curve of the pitch.
| | 01:18 | So let's quickly listen to this note
before we edit it at all, so we can hear
| | 01:22 | what it sounds like.
| | 01:23 | (music playing)
| | 01:24 | You can hear there's a little bit
of a downward scoop and then an
| | 01:27 | upward scoop at the end.
| | 01:28 | So perhaps we want to flatten this
out to make it closer to a single pitch
| | 01:30 | without the pitch bending.
| | 01:32 | We can click and drag downward to
flatten that pitch out, which makes that less
| | 01:37 | of a noticeable pitch bend.
| | 01:39 | But if we wanted the opposite,
perhaps we wanted it a more exaggerated
| | 01:42 | pitch bend, we could click and
drag upward--
| | 01:45 | (music playing)
| | 01:46 | which exaggerates the pitch bend.
| | 01:47 | So I am going to undo this, and I'm
going to scroll over to the right until I
| | 01:52 | can find the longer note that better
will demonstrate the use of this tool, and
| | 01:56 | here's a note that might work pretty well.
| | 01:58 | So let's select this note and take a listen.
| | 02:00 | (music playing)
| | 02:01 | It already sounds fairly flat,
but using this tool, we can
| | 02:04 | flatten it out and make it sound very flat.
| | 02:06 | (music playing)
| | 02:07 | In other words, making
the pitch closer to center at all times,
| | 02:11 | or we can exaggerate it even further
by bringing the pitch drift farther from
| | 02:16 | center, which will make it sound
essentially more like there's a vibrato or
| | 02:20 | making the pitch change more from the center.
| | 02:22 | (music playing)
| | 02:24 | And so by exaggerating
like that, we can hear the pitch changing
| | 02:27 | up or down, above and below where
the center of the pitch should be.
| | 02:31 | I'm going to undo this to set
it back to its original pitch.
| | 02:35 | Another use of the Pitch Modulation
tool is essentially the Auto-Tune effect.
| | 02:39 | We can select a single note or
multiple notes in a batch by clicking and
| | 02:44 | dragging, and then double-click with
our Pitch Modulation tool, and this will
| | 02:48 | set all the pitch modulations as
close to flat as possible which will
| | 02:51 | essentially give us an Auto-Tune-like effect.
| | 02:54 | (music playing)
| | 02:58 | I'm going to undo this
and set us back to our original pitch and
| | 03:02 | now switch to the Pitch Drift tool.
| | 03:04 | Using the Pitch Drift tool we can edit
the drift of a pitch from the start to
| | 03:08 | the end of a note without
altering the modulation.
| | 03:12 | So if we like the vibrato on a note,
for example, we can keep the vibrato, but
| | 03:16 | if perhaps the vibrato starts a little
sharp and ends a little flat, we can keep
| | 03:20 | the vibrato but make it start
not so sharp and end not so flat.
| | 03:25 | So in other words, using this tool
will tilt the pitch curve in either
| | 03:28 | direction, allowing you to flatten out
or exaggerate the curve of the pitch.
| | 03:33 | So let's take a look at this note.
| | 03:34 | Here's before we edited it.
| | 03:36 | (music playing)
| | 03:37 | It starts a little sharp
and dips a little flat.
| | 03:39 | If we wanted to flatten the drift
using the Pitch Drift tool, we can click
| | 03:43 | anywhere in the region as long
as we don't switch to another tool
| | 03:46 | inadvertently, and click and drag
down to flatten out the drift so that the
| | 03:50 | beginning of the note is closer to the
center pitch, and the end of the note is
| | 03:53 | closer to the center pitch.
| | 03:54 | (music playing)
| | 03:56 | Or we can click and drag up
to exaggerate the natural curve in
| | 04:00 | the other direction which will make
it start even sharper than it already
| | 04:04 | started and end even
flatter than it already ended.
| | 04:06 | (music playing)
| | 04:08 | So I'm going to undo this until
we're back to where we started.
| | 04:11 | And the next tool, we can access
it from any of the Pitch tools.
| | 04:14 | So for now let's go back to our
initial Pitch tool, and this is the Pitch
| | 04:19 | Transitions tool, and what the Pitch
Transitions tool allows us to do is edit
| | 04:23 | the transition between two notes.
| | 04:25 | So let's take a look here, for example.
| | 04:27 | I'm going to slide a little bit to the left
so we can center this and have a listen.
| | 04:32 | (music playing)
| | 04:33 | So there's a bit
of a slide between these two notes.
| | 04:36 | So if, for example, we wanted to make
the transition between the two notes a
| | 04:40 | little bit more drastic, you can
move your cursor until you see the Pitch
| | 04:43 | Transition tool and then click and drag
downwards to exaggerate a sharper curve
| | 04:49 | which will sound like this.
| | 04:50 | (music playing)
| | 04:52 | Almost like an Auto-Tune effect.
| | 04:53 | Let's undo that or clicking and
dragging upward, making it slower, more
| | 04:58 | exaggerated transition between the two pitches.
| | 05:00 | (music playing)
| | 05:03 | I'm going to undo this
and then show you a couple of ways to
| | 05:05 | reset all of these elements.
| | 05:07 | So, for example, if we had tuned a note,
we had edited the modulation, and if we
| | 05:13 | had edited the drift of a pitch,
perhaps we wanted to reset all of that.
| | 05:18 | We can quickly do so by selecting the
notes that we want to reset and choosing
| | 05:23 | the Edit menu > Edit Pitch.
| | 05:25 | We can reset the Pitch Center,
Pitch Modulation, and the Pitch Drift to
| | 05:30 | the original.
| | 05:31 | Also, we can go down to the next
option and choose Reset All Pitch Related
| | 05:35 | Changes to Original, which will reset
us right back to where we started, before
| | 05:39 | we made any changes.
| | 05:40 | So with this nondestructive editing
technology, we're able to try many things to
| | 05:44 | get it where we want it; and unlike
undo, which linearly undoes one step at a
| | 05:49 | time, using the Reset can allow you to
go back to the start at any point without
| | 05:53 | affecting any other steps
you've taken in between.
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| Using the Edit Formant tool| 00:00 | The Edit Formant tool is a very
useful tool that allows you to alter the
| | 00:03 | formant of your source.
| | 00:05 | We briefly covered what a formant is
before, but the formant is essentially the
| | 00:09 | source through which your sound is formed.
| | 00:11 | So, for example, imagine a vocalist
with a very small throat versus a vocalist
| | 00:16 | with a very large throat, and you can
imagine that the sound will be different
| | 00:19 | between the two, and that sound
difference is caused by the formant.
| | 00:22 | So let's take a look at how the
formant can help us in Melodyne.
| | 00:25 | First let's take a look at a real
world example of correcting the formant
| | 00:29 | when we make an edit.
| | 00:31 | I am going to select these three
notes and double-click them with the Edit
| | 00:34 | Pitch tool to center them on their closest
center pitch, and I'm going to drag them up...
| | 00:39 | (music playing)
| | 00:42 | To change the Pitch to something
that was not intended by the singer.
| | 00:45 | So this pretty drastic change of
several Notes from the original position.
| | 00:48 | Let's have listen to the new performance.
(music playing)
| | 00:53 | So you can see that it sounds a
little unnatural, perhaps if I
| | 00:56 | was going to make this change I
would also change this Note...
| | 00:58 | (music playing)
...up one more half step.
| | 01:00 | (music playing)
| | 01:04 | And what we can do with the
Formant tool is first select it, we
| | 01:08 | can use the Formant tool to offset the
change that we made in pitch by dragging
| | 01:12 | the formant down for high notes, often
up for low notes, but really there's no
| | 01:18 | science to it, it's
really just what sounds right.
| | 01:20 | So you can play around with it
especially since we have a nondestructive editing
| | 01:24 | at our fingertips to find the
right setting for the formant.
| | 01:27 | So let's listen to this.
(music playing)
| | 01:30 | So may be not quite right
let's try something else here.
| | 01:33 | (music playing)
| | 01:37 | So the last note is okay. The
first note still sounds a little
| | 01:39 | funky, so we'll try a little bit more.
(music playing)
| | 01:45 | Now the middle note is still a
little out, so I'll try and drop
| | 01:48 | that formant a little more.
(music playing)
| | 01:51 | Because I am not quite happy
with it, but I can fine-tune this,
| | 01:54 | I can explore what it sounds like going
up higher and in different directions.
| | 01:58 | (music playing)
| | 02:01 | You can start to hear
there's a bit of an effect to this.
| | 02:04 | So if you wanted to we could
use the formant as an effect.
| | 02:07 | So to try this is an effect, let's at first
reset the formant editing that we've done.
| | 02:11 | We can go up to the Edit menu, select Edit
Formant, and choose Reset Formants to Original.
| | 02:17 | Now we are back to where we started. To
accomplish a very exaggerated effect, we
| | 02:22 | can drag the formants up quite a lot
higher than they would naturally occur and
| | 02:26 | listen to the effect that we get.
(music playing)
| | 02:29 | And this effect is something
that most people are very familiar
| | 02:32 | with having listened to this in many records.
| | 02:35 | So again let's reset these formant
edits by selecting it from the Menu or we
| | 02:41 | also set a shortcut key in the Melodyne
Studio as we'll look out later in this course.
| | 02:45 | Whether you're altering the formant
for effect or to make the altered vocal
| | 02:49 | sound more natural, this tool gives you
the control to get the result you want.
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| Using the Amplitude tool| 00:00 | Using the Amplitude tool, you can control the
volume of individual note blobs or segments.
| | 00:05 | Let's switch to the Amplitude tool
using our pop-up menu or by selecting it in
| | 00:10 | the tool palette on the top-
left corner of our Editor window.
| | 00:13 | And you can simply click and drag up
to make a note or blob louder or down to
| | 00:19 | make a note or blob softer, and you
can double-click to mute a note, and
| | 00:25 | double-click again to unmute, and just
like with our other editing tools, we
| | 00:29 | can select Edit Amplitude and Reset
Amplitudes to original to get back to where we started.
| | 00:35 | You can use the Amplitude tool to
achieve some really cool effects like
| | 00:39 | softening the start or end of notes
as well as changing transitions between
| | 00:43 | notes, but we'll get into that later in
the last video in this chapter when we
| | 00:47 | do a real-world example
of editing with Melodyne.
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| Using the Move Notes tool and Edit Time Handle tool| 00:00 | The Move Notes tool is your go-to tool
for editing the timing of your audio.
| | 00:04 | Let's select the Move Notes tool by
selecting it from the Tool palette in the
| | 00:08 | top left-hand corner of our Editor
window, or by selecting it from a right-click
| | 00:12 | pop-up menu, or with a shortcut which
we'll look at assigning in a later video.
| | 00:16 | Using the Move Notes tool, we can move
the start of a note by clicking near the
| | 00:20 | start of a file and dragging it to the
left to make this start earlier, or to
| | 00:25 | the right to make the start later.
| | 00:27 | We can also locate our cursor near the
end of a note blob or region, and you'll
| | 00:32 | notice that the arrow turns to a double arrow.
| | 00:34 | Once you see this, you can use the
tool to move the end of the note, either
| | 00:38 | earlier or later, without affecting
the timing of the start of your note.
| | 00:43 | So now let's switch back to our
Arrangement window, and selecting our Move tool
| | 00:49 | or even with the main tool, we can
select all, Command+A or Ctrl+A. I'm going to
| | 00:54 | zoom out, Command+Option or Ctrl+Alt zoom out.
| | 00:58 | We can then use our Move tool to move
entire segments left or right, keeping its
| | 01:03 | rhythmic structure intact, without
changing any duration of any notes within it.
| | 01:09 | This is actually very useful if
perhaps we imported a file that started at a
| | 01:12 | different location, if perhaps you
exported your instrumental at bar -2 and
| | 01:18 | maybe your vocal at bar 1.
| | 01:20 | You might want to line them up by
moving one or the other in the Arrangement
| | 01:24 | window so that they play in
relative time with each other.
| | 01:28 | Let's go back to our Editor window.
| | 01:29 | When you're using the Move Notes tool,
you'll notice that there's a box around
| | 01:34 | each note, and inside this box, you'll
notice a suggested rhythm for the note.
| | 01:39 | This suggested rhythm is based on the
tempo that's set for your audio file
| | 01:43 | or for your session.
| | 01:45 | If you've manually set the tempo, this
is the most accurate way to edit using
| | 01:49 | this technique because you
know that the tempo is accurate.
| | 01:52 | However, Melodyne will detect the tempo
automatically and often gets very close.
| | 01:56 | The only thing to keep in mind though
is if you're working at a very different
| | 02:00 | tempo in your ruler, the suggestions
that you see you may have nothing to do at
| | 02:04 | all with the musical
material that you're hearing.
| | 02:06 | So you may want to make sure that your
tempo is set manually and to the right
| | 02:10 | tempo before you use this.
| | 02:12 | Using the Move Notes tool, you can
snap your audio to the suggested timing or
| | 02:17 | essentially snap it to the grid like
quantizing by double-clicking a region
| | 02:20 | or note blob.
| | 02:22 | And you can see what happens is the
start of a region or note blob is snapped
| | 02:26 | to the suggested time in the box,
which corresponds to your ruler when your
| | 02:30 | tempo is set correctly.
| | 02:32 | You can also use the Move Notes tool to
make really minute adjustments that are
| | 02:35 | in between the
quantization level of your session.
| | 02:38 | So in other words, if you wanted to
just move the rhythm just by a hair and not
| | 02:42 | actually move it to match the grid, you
can hold the Option or Alt key, click in
| | 02:47 | the beginning of region and slide it,
and it will slide in between the
| | 02:50 | quantization amount.
| | 02:51 | We can do the same thing by clicking
near the end to move the end of a region or
| | 02:55 | blob either earlier or later.
| | 02:58 | Now let's select the Edit Time Handle sub-tool.
| | 03:02 | You can select this by clicking on the
Move Notes tool and then dragging down to
| | 03:05 | the Edit Time Handle sub-tool in the
toolbar or by right-clicking, and again,
| | 03:10 | you can also assign a
shortcut which we'll look at later.
| | 03:14 | You can see that not only the Cursor
tool changes, but you can also see a handle
| | 03:17 | that is now on the beginning of most notes.
| | 03:20 | Using this handle, what you can do is
speed up or slow down the attack or in
| | 03:24 | some cases, the end of a note.
| | 03:27 | This is a really handy tool if you
have a pitch bend into a note that maybe
| | 03:30 | happened a little too fast and
maybe you want to slow it down.
| | 03:33 | You can also use it in any variety of
other ways to affect your performance.
| | 03:36 | Let's listen to this
section before we make any change.
| | 03:40 | (music playing)
| | 03:41 | So we can hear there's
bit of a pitch slide going up into the
| | 03:44 | top note on the word love.
| | 03:46 | So if we wanted to speed up the attack,
we can click and drag our bar up, and
| | 03:53 | you can see that it drastically speeds
up the attack, in fact, more so than we
| | 03:57 | would even ever musically do,
we can hear that if we want.
| | 04:00 | (music playing)
| | 04:02 | Way too much!
| | 04:03 | So if we click and drag down back
towards our centerline, we're setting it back
| | 04:08 | near to where it was.
| | 04:09 | We can also slow down that attack by
dragging downward, and let's listen to
| | 04:14 | that effect.
| | 04:15 | (music playing)
| | 04:17 | Again, way more drastic than
we would ever use, but you can
| | 04:20 | hear the difference.
| | 04:22 | Before we move, on let's reset
everything that we've just done so that we don't
| | 04:26 | make any inadvertent changes.
| | 04:27 | We can do this just like you did
with every other tool by going to the
| | 04:30 | Edit menu.
| | 04:31 | We'll choose Edit Notes Time, and we
can choose to Reset relative Time Course
| | 04:35 | to Original, Reset Time and Duration
to Original, and to Reset Note Time
| | 04:40 | Handles to Original.
| | 04:42 | In this case, we're going to want to
choose to Reset Time and Duration to
| | 04:45 | Original, and we'll also want to reset
our Note Time Handles to Original, since
| | 04:49 | we messed with those.
| | 04:51 | So now you can see
everything is back where we started.
| | 04:54 | So moving notes lets you change
and fix rhythms, and it also lets you
| | 04:57 | manufacture a rhythm if you didn't
actually have something that you wanted in
| | 05:00 | your original performance.
| | 05:01 | So it's a very powerful tool that
makes editing rhythm very easy to do.
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| Using the Note Separation tool and Segment Separation Tool| 00:00 | With the Split Notes tool, you can separate
a note blob or segment into smaller segments.
| | 00:05 | Let's select the tool using one of the
methods we've already seen, and let's
| | 00:09 | take a look at how it works.
| | 00:11 | Basically, you can double-click at any
point in a blob or segment, and it will
| | 00:15 | separate that blob into smaller segments.
| | 00:18 | Now, there are many uses for this.
| | 00:20 | First of all, it's very useful for
separating breaths and sibilance and plosives.
| | 00:24 | For example, if you're tuning, and you
want to change the pitch of this note,
| | 00:29 | perhaps you don't want to change the
pitch of the breath following it, which can
| | 00:33 | sound phasey if you change it too much.
| | 00:36 | So what we would do is separate the
breath so that when we change the pitch
| | 00:39 | of the note, the breath can stay at its
natural pitch and sound as natural as possible.
| | 00:45 | Likewise, we can do the same thing
with sibilances which are esses, or plosives
| | 00:50 | which are Ps and Ks or
sounds that pop into the mic.
| | 00:54 | So we can separate them to allow us to
either reduce them in volume using our
| | 00:57 | Amplitude tool or to perhaps
shorten them using our Move Notes tool.
| | 01:03 | Probably the most common use of the
Split Notes tool is to separate note
| | 01:06 | blobs into smaller segments that
Melodyne didn't automatically detect as
| | 01:10 | being different notes.
| | 01:11 | So, we can take a look at this in this example.
First, I'm going to zoom in a little bit.
| | 01:16 | We can use Command+Option-click and drag
with the mouse or Ctrl+Alt on Windows.
| | 01:22 | We can also use a couple of
key commands built into Melodyne.
| | 01:25 | On the numeric keypad, you can zoom in
with the 9 key, zoom out with the 7 key,
| | 01:31 | zoom in vertically with the 3 key
and zoom out vertically with the 1 key.
| | 01:37 | And again, we can set custom
shortcuts for this which we'll look at later.
| | 01:39 | So I'm going to zoom in a little bit
so we can see the changes within these
| | 01:43 | notes a little better, and I'm going
to use my Split Notes tool to separate a
| | 01:47 | few different pitches that probably
should have been separated already.
| | 01:51 | So here, we can see that this note
has a pretty big pitch bend which may
| | 01:55 | actually be a little bit of a
pickup note or a grace note.
| | 01:58 | So we're going to separate
the first part of that note.
| | 02:00 | Let me get that a little closer which I
can do by undoing and re-separating, or
| | 02:05 | I can also click and slide with the
Split Notes tool to move the point where
| | 02:10 | the separation occurs.
| | 02:11 | I can see here is another spot where
there might be a separate note, move a
| | 02:15 | little more on to the right, and just
look for more spots like this throughout
| | 02:19 | the arrangement, or I might want to
split the performance into separate notes,
| | 02:23 | separate breaths, that type of thing.
Here is another breath, for example.
| | 02:28 | Using this tool, a lot of times the
best way to work is to go through and
| | 02:31 | separate everything out before
you even attempt to start tuning.
| | 02:35 | And again, we'll get into this a little
bit more later, because we're going to
| | 02:37 | do some real-world
examples of editing this vocal.
| | 02:41 | You can also use a Split Notes tool
to make separations that might help you
| | 02:45 | smooth the pitch transition from one
note to another within a performance that
| | 02:49 | might otherwise sound jumpy.
| | 02:50 | For example, if we had a spot where
we needed to make that transition more
| | 02:54 | natural, we could split the note
and use one of our other tools, perhaps
| | 02:59 | our Edit Pitch tool...
(music playing)
| | 03:04 | ...to close the gap of the
notes which can oftentimes make a
| | 03:07 | jumpy note change more smooth.
| | 03:10 | We'll take a better look at this when we do
more in-depth editing example in a later video.
| | 03:15 | Now let's select the Segment Separation tool.
| | 03:18 | This is a sub-tool of the Split Notes tool.
| | 03:20 | Using this tool, what we can do is
separate individual note blobs into separate
| | 03:24 | segments, essentially making
separate regions out of them.
| | 03:28 | And this can be useful if you want to
move an entire section earlier or later.
| | 03:32 | Using the Segment Separation tool, we
can separate by double-clicking on an
| | 03:36 | existing note separation or we can also
do this by finding an existing segment
| | 03:41 | separation line and moving it.
| | 03:44 | So as you can see, cutting region
blobs into smaller segments or separating
| | 03:48 | segments gives you yet more control
over your ability to alter your audio.
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| Using the Main tool| 00:00 | The Main tool in Melodyne allows you
to perform many of the functions of the
| | 00:03 | other tools we've just looked at.
| | 00:05 | If you're familiar with ProTools, you
can say it's similar to the Smart tool.
| | 00:09 | Let's select our Main tool, one of the
ways we've already looked at, and let's
| | 00:13 | see exactly how it works.
| | 00:14 | So using the Main tool, you can hover
over a note or a blob, and you can see
| | 00:19 | that depending on where you place the
cursor, the Main tool's icon will change
| | 00:23 | to show you what tool you can currently use.
| | 00:26 | So, for example, if we locate our
cursor next to a note separation, we can use
| | 00:30 | the Note Separation tool by altering
the location of the note separation.
| | 00:35 | If we move our cursor over the
beginning of a note blob or region, you can see
| | 00:39 | that the Move Notes tool becomes active.
| | 00:41 | As you move over the center of the
region, you can see that the Pitch tool
| | 00:44 | becomes active, and if we move to the
end of a region, you can see that the Move
| | 00:48 | Notes tool becomes active again so
that we can alter the end of our region.
| | 00:53 | So, all of these tools can be
accessed from the Main tool.
| | 00:56 | You may find that this is the best
way for you to work, but there are many
| | 00:59 | other ways that we can work in
Melodyne especially with Melodyne Studio,
| | 01:03 | including adding custom shortcuts to
switch between tools, and we'll look at
| | 01:06 | that in a later video.
| | 01:09 | One of the things I wanted to point out
before we move away from tools is that
| | 01:12 | on the top left-hand corner of the
Editor window to the right of the toolbar,
| | 01:15 | you can see the Selected Note is
displayed, and the Selected Note Pitch is
| | 01:19 | displayed in Hertz (Hz).
| | 01:21 | If you're on other tools, you can
actually enter a text value to make an edit
| | 01:26 | without using the tool itself.
| | 01:28 | You may prefer to work primarily from
this tool, but you may find that you work
| | 01:31 | better when switching to
individual tools as needed.
| | 01:34 | Just play around with it, and
see what works best for you.
| | Collapse this transcript |
| Exploring additional tools in the MDD Editor| 00:00 | Now let's take a look at a few more
tools that live in the MDD Editor window.
| | 00:04 | Let's open the MDD Editor window by
going to the Definition menu, and selecting
| | 00:08 | Open MDD Editor, or by using the
key command Shift+Option+Command+D or
| | 00:14 | Shift+Alt+Ctrl+D on Windows.
| | 00:16 | In the MDD Editor, we can edit the way that
our MDD interprets the audio from a given region.
| | 00:24 | This is actually a very handy way for
us to make changes, for example, to the
| | 00:28 | notes that are detected, and the
rhythm that's detected from a region.
| | 00:32 | And you can also see with our score
overlay, we can also change the way that,
| | 00:36 | that score is printed or
interpreted from the audio that we're using.
| | 00:41 | The first of these tools is
the Define Score Time tool.
| | 00:44 | We can select the Define Score
Time tool from the tool Palette on the
| | 00:47 | top-left-hand corner of the window.
| | 00:50 | We can also select it by right-
clicking using our pop-up menu.
| | 00:53 | And what this allows us to do is change
the position of a beat or the first beat
| | 00:58 | in a bar so that Melodyne knows where
bar 1 beat 1, or bar 2 beat 1 is or beat 1
| | 01:04 | in any bar for that matter.
| | 01:06 | As we've briefly discussed before,
Melodyne will automatically detect the pitch
| | 01:09 | and rhythm of a file when it's being imported.
| | 01:11 | And usually, this is pretty accurate,
but every once in a while, it may not be,
| | 01:15 | so you may want to come in here to the
MDD Editor, and use this tool to tell
| | 01:19 | Melodyne where the
downbeat or a beat should lie.
| | 01:22 | This can be particularly helpful, if,
for example, you're working with a piece
| | 01:26 | of music that's rubato or has a tempo change.
| | 01:29 | The way we would use this tool is by
simply clicking at the location where the
| | 01:33 | bar is and dragging to locate
the bar in the desired place.
| | 01:38 | So now we're going to switch back to
our Arrangement window, and I want to show
| | 01:41 | you quickly how you can use Variable
Tempo Editing mode to actually change the
| | 01:45 | ruler of your song if you do have a
tempo change or a rubato section in a song.
| | 01:50 | First let's go to the Edit menu, and
choose Variable Tempo Editing mode, or
| | 01:55 | you can enable it with the key
command Command+Option+J on a Mac, or
| | 01:58 | Ctrl+Alt+J on Windows.
| | 02:00 | You'll see a blue line appears at bar 1.
| | 02:04 | You can basically add or edit any of
these blue lines, and what they are is
| | 02:08 | the tempo for that bar.
| | 02:10 | So, we can add a new blue line at bar 2
by double-clicking, and another one at
| | 02:15 | bar 3 by double-clicking, and we can
change the tempo of each of these bars by
| | 02:19 | double-clicking the tempo,
and entering a new tempo.
| | 02:22 | So, in this example, we're simulating
the tempo changing from 77 to 79 over a
| | 02:27 | couple of bars, but you can obviously
adjust this to make it work with the tempo
| | 02:31 | change in your song.
| | 02:33 | Now let's switch back to our MDD Editor.
Let's take a look at the next tool.
| | 02:38 | This is the Define Beat Assignment tool just
to the right of the Define Score Time tool.
| | 02:43 | And what this does is allows us to change
individual rhythms within the detected melody.
| | 02:49 | So if, for example, our audio was just
a little bit behind an eighth note or a
| | 02:53 | quarter note and so therefore
Melodyne interpreted the rhythm on our Score
| | 02:57 | display as something different than
intended, we can change that here.
| | 03:01 | The way we do this is by clicking the
rhythmic box for a note and changing it to
| | 03:06 | where we want it to live.
| | 03:07 | So, if, for example, this note should
have started on the downbeat and perhaps
| | 03:12 | the singer was just a little bit
behind the beat, we can simply click on the
| | 03:15 | note, and drag it to the left
to place it where we want it.
| | 03:19 | We can see that the Score Time changes
to reflect the musical material that was
| | 03:24 | intended by the singer's performance.
| | 03:26 | It's important to note that this does
not actually change the audio, so we're
| | 03:30 | actually leaving the musical
performance untouched and just changing the way
| | 03:34 | Melodyne interprets that rhythm.
| | 03:36 | The last tool we're going to look at
here is our Define Pitch Assignment tool.
| | 03:40 | The Define Pitch Assignment tool is
very useful for notes that may not fall
| | 03:44 | right on a degree of the scale.
| | 03:46 | Perhaps the singer was just a hair
sharp or flat, but it just sounded really
| | 03:50 | good or maybe a note, there's just a
little bit of a bend into the note and so
| | 03:54 | Melodyne wasn't quite sure where it should go,
and it maybe got assigned to the wrong note.
| | 03:58 | That's what this tool allows us to fix.
| | 04:00 | For example, with this pitch, we can see
the box where Melodyne interpreted that
| | 04:04 | note as being centered.
| | 04:06 | But if, for example, it was supposed
to be an F sharp instead of an F, we can
| | 04:09 | use this tool to drag the note up so
that Melodyne interprets that pitch now
| | 04:14 | as an F sharp even though the note starts below
an F and actually finally ends up at an F sharp.
| | 04:20 | And again note, it does not change
our audio, it only changes the way
| | 04:23 | Melodyne displays the score.
| | 04:25 | Using these tools in the MDD Editor,
you can make the ruler and the score more
| | 04:29 | closely match your audio.
| | Collapse this transcript |
| Correcting pitch and time automatically| 00:00 | You can edit page individually using
the tools we've already looked at, but
| | 00:03 | you can also edit all of the pitches in a
selection at once using the correct pitch function.
| | 00:08 | Likewise, you can edit all the timings in a
selection using the correct time function.
| | 00:13 | If you want to just do a quick and dirty pass,
you can select everything and apply Correct Pitch.
| | 00:19 | So first let's select all, Command+A
or Ctrl+A, and then let's go to our Edit
| | 00:23 | menu and choose Correct Pitch.
| | 00:26 | We can also enable Correct Pitch by
using the key command Command+Option+P on a
| | 00:30 | Mac, or Ctrl+Alt+P on Windows.
| | 00:33 | Now you'll see a pop-up
window which gives us two options.
| | 00:37 | One is the Pitch Center.
| | 00:39 | If you set it to a 100%, it's going
to center the pitch of each note that's
| | 00:43 | selected to the pitch that Melodyne
thinks is the closest pitch, and as we
| | 00:47 | already looked at in the MDD Editor,
we can also edit which pitch Melodyne
| | 00:52 | thinks the closest selected pitch
is to help this have better effect.
| | 00:56 | We can also lessen the effective of this by
changing our Correct Pitch Center to any value.
| | 01:01 | If we want just a little bit of pitch
correction we maybe drop it down to 21%,
| | 01:06 | and you can see the display of our
note blobs moves to reflect how much it's
| | 01:10 | actually going to be altered.
| | 01:12 | So if we're going to go back to 0%,
you can see that's where we started.
| | 01:16 | If we're going to maybe to go to 50%,
we can see here, the notes move about
| | 01:20 | halfway towards center and 100%,
they move all the way to center.
| | 01:24 | You're going to want to use this very
carefully depending on the type of musical material.
| | 01:29 | Perhaps, if it's a pop song you might
want to go to a 100%, but otherwise you
| | 01:32 | might want to be a little bit less than
perfect to maintain some of the natural
| | 01:35 | character of the singer's performance.
| | 01:38 | So maybe let's start with 86 for our
example, and then the pitch drift is going
| | 01:43 | to edit the pitch drift, like we did
with our Pitch Drift tool, but we can do it
| | 01:46 | automatically from many notes here.
| | 01:49 | Again, we have 0%, and it shows us the
Pitch Drift without any alteration around 50%.
| | 01:57 | We can see that it brings in it closer
to the Center Pitch and 100% brings it in
| | 02:02 | really close to the Center Pitch.
| | 02:04 | So depending on the type of musical
material you're working with, you may want
| | 02:07 | to choose a more natural
setting or in more corrected setting.
| | 02:10 | Now in order to commit these changes
all we have to do is press Return or click
| | 02:14 | OK, and everything has
been tuned by this amount.
| | 02:19 | Now this is a really good way to do a
quick and dirty pass, but there are some
| | 02:22 | reasons why you may not want to do this.
| | 02:23 | For example, this will also change the
pitch of any associated breaths, or any
| | 02:29 | notes that are tied to other note blobs that
were not properly separated before doing this.
| | 02:35 | What that can do is cause sibilance or
breaths to sound phasey, and it can also
| | 02:40 | cause notes that should be separated
to need to be separated further later.
| | 02:44 | So you could choose to do this as a
first pass, and then go through and
| | 02:48 | separate everything that you want to
further edit or you could choose to first
| | 02:52 | go through and separate everything,
and then come back and use the correct
| | 02:55 | pitch tool after you've done that.
| | 02:57 | One thing to keep in mind is if you do
that method, you still need to reset your
| | 03:02 | sibilance and breaths to their original
Center Pitch, because they will still be
| | 03:06 | tuned by using this technique.
Now let's take a look at Quantizing Time.
| | 03:11 | Under the Edit menu, we can select
Quantize Time or use the key command,
| | 03:16 | Command+Option+T on a Mac, or Ctrl+Alt+T on
Windows, and a similar pop-up menu pops up.
| | 03:22 | Here we can choose a Reference Track
to which the groove will be referred.
| | 03:27 | So if you have an instrumental with a
certain feel, you may want to use that as
| | 03:32 | a ruler, and you can also choose the
subdivision to which you want to quantize
| | 03:36 | your material, and then the
intensity or strength of your quantization.
| | 03:42 | Now this is something you got to be really
careful with, and I honestly never use it.
| | 03:46 | But it can be really helpful if your
performance is very close and again using
| | 03:50 | the tools in the MDD Editor to make
sure that Melodyne knows what the rhythm
| | 03:53 | should be can help this tool become more useful.
| | 03:56 | So doing your first pass with the MDD
editor can allow you to actually use this
| | 04:00 | tool to its greatest effect.
| | 04:02 | If you do decide to use it, all you
have to do is make your settings and press
| | 04:06 | Return or OK to quantize everything.
| | 04:10 | So as you can see, these functions
provide a very powerful way to make
| | 04:13 | multiple edits all at once.
| | Collapse this transcript |
| Copying and pasting| 00:00 | In Melodyne just like in any other Digital
Audio WorkStation you can cut, copy, and paste.
| | 00:06 | This is very useful if you want to
make a new arrangement or perhaps
| | 00:09 | duplicate part of your arrangement,
without having to do it before bringing
| | 00:13 | your audio into Melodyne.
| | 00:15 | So perhaps you've already made the
corrections on the specific section, and
| | 00:17 | you want to repeat it, perhaps the
chorus background vocals in a song, you can
| | 00:22 | actually copy and paste your already corrected
audio rather than having to make those edits again.
| | 00:26 | I am going to zoom out a little
bit so that we can look at the entire
| | 00:29 | arrangement, which I can also view
the entire arrangement by selecting
| | 00:33 | Navigation Menu > Zoom to > Full Song, since
we already have a full song marker created.
| | 00:39 | So if I, for example, wanted to copy
the entire background vocals section
| | 00:45 | from one chorus and paste it to another,
I can simply select it, copy it with
| | 00:49 | Command+C or Ctrl+C, locate my
cursor to wherever I want to paste it and
| | 00:54 | paste it there with Command+V or Ctrl+V.
Likewise, if you wanted to remove a
| | 00:59 | section and paste it elsewhere, you
can make your selection and cut with
| | 01:03 | Command+X or Ctrl+X, make your new
selection with the cursor and paste with
| | 01:09 | Command+V or Ctrl+V. And you can do
this right in the Arrangement window or
| | 01:13 | in your Editor window.
| | 01:16 | The ability to edit audio like any
other DAW, allows you to make detailed
| | 01:20 | alterations and additions to your
arrangement after you've already started
| | 01:23 | working in Melodyne.
| | Collapse this transcript |
| Editing pitch| 00:00 | Now that we've gone through the
individual tools in Melodyne and seen what they
| | 00:03 | can do, let's take a look at the various
techniques that we can use to edit the
| | 00:06 | pitch of our performance using these tools.
| | 00:09 | We'll also look at some real-world
examples of editing pitch to get a desired result.
| | 00:13 | So first let's talk about a couple of various approaches
for fixing the pitch of notes and transitions.
| | 00:18 | Let's open our Editor
window, look at our lead vocal.
| | 00:21 | I am going to zoom in a little bit
vertically, the 3 key on the Numeric Keypad
| | 00:26 | and a little bit more horizontally
with the 9 key on the Numeric Keypad and
| | 00:30 | center my view, and I am going to
switch my tool to the Pitch tool.
| | 00:35 | The song we are using is by the artist
Eoka, and I'd like to point out that
| | 00:38 | the vocal that we're using here
is not her actual performance.
| | 00:42 | I've actually altered her amazing
performance to make it sound out of tune just
| | 00:45 | so we have something to work with that
has a little bit more work that needs to
| | 00:49 | be done, or in this case a lot
more work that needs to be done.
| | 00:52 | So let's quickly take a
listen to the first few lines of my
| | 00:54 | butchered performance here.
| | 00:57 | (music playing)
| | 01:02 | So you can see that I've
made certain notes a little
| | 01:04 | sharper than they should be, others are little
flatter, certainly not a musical performance.
| | 01:09 | And our goal now is to make
it a musical performance again.
| | 01:12 | So there's a couple of ways that we can do this.
| | 01:14 | We've briefly touched on a few of them, but
let's get into them in a little more detail now.
| | 01:18 | The first approach is to go through
our performance and separate all of
| | 01:22 | the breaths and sibilances and notes that
need to be separated within each note blob.
| | 01:26 | So let's take a look at doing this
using just the first two phrases that we can
| | 01:30 | see on our screen now.
| | 01:31 | So first I'll select my Note
Separation tool, and I'll start separating
| | 01:35 | the different elements.
| | 01:36 | Now I can see here that this first
separation I've made is between a note and
| | 01:40 | a sibilance, and I can usually tell
that there's a sibilance just because of
| | 01:43 | the waveform display.
| | 01:44 | If you have a pitch curve, you know
that the note has a pitch, and if you don't
| | 01:48 | it usually means that it's either a
breath or a sibilance or an item that will
| | 01:52 | not be necessarily
corrected through our editing.
| | 01:55 | So now I'm going to go through the
performance and separate the note blobs where
| | 01:58 | it looks like there could be different
pitches in the single note blob that were
| | 02:02 | not automatically separated by Melodyne.
| | 02:04 | So I will make my first
separation, grab another one.
| | 02:07 | Down here this looks like a pitch bend,
but I'll separate it anyways just in case.
| | 02:11 | Here could be another
pitch bend, same thing here.
| | 02:15 | Here this looks like a pretty obvious note
change, so we will go ahead and separate that.
| | 02:19 | Now once we have made the separations, there
is a couple ways that we can tune these notes.
| | 02:23 | First I am going to zoom out a
little bit more so I can see everything,
| | 02:27 | including the bottom notes and
the top notes on the same view here.
| | 02:30 | Now I can either make my pitch
correction by selecting my Edit Pitch tool, and
| | 02:34 | then making a selection around the
notes that I want to alter and simply
| | 02:37 | double-clicking any one of those notes,
which will snap them all to the suggested
| | 02:41 | center pitch for those notes.
| | 02:43 | I am going to undo that and another way
that we can do this is using our Edit >
| | 02:47 | Correct Pitch option, and we can set
our sliders to the desired value and press
| | 02:51 | OK, which will give us a little more
fine-tune control over how close to the
| | 02:55 | pitch is center and how much drift we
are going to be editing when we do this.
| | 03:00 | So now that we have made this change,
let's take a listen and see what else we
| | 03:02 | are going to need to alter further.
| | 03:05 | (music playing)
| | 03:10 | So we can tell that some
things are close, some things are
| | 03:13 | little jumpy and our goal is
still to make them more natural.
| | 03:16 | So let's go through and look at this.
| | 03:18 | So I am going to take this a few notes at a time...
(music playing)
| | 03:22 | I can tell there is something
funky in here, because I know that
| | 03:24 | the melody should sound different than it does.
| | 03:26 | I'm guessing this first note is
actually flat, so what I can do is just move
| | 03:30 | that up to the next note,
and let's listen to that.
| | 03:33 | (music playing)
And that's a little better.
| | 03:36 | It still sounds a little funny
because that third note, this one right here
| | 03:39 | still sounds a little sharp.
| | 03:41 | So I am going to select it while
holding the Option or Alt key and dragging
| | 03:45 | just a hair flat so that it doesn't sound
sharp anymore, and let's have a listen to that.
| | 03:49 | (music playing)
| | 03:52 | Using that technique you can
leave the actual pitch drift, and
| | 03:55 | then move the entire note just a hair
sharp or flat to make it sound like it's
| | 04:00 | on the right centered pitch.
| | 04:02 | Keep in mind that you can actually use
the Pitch Curve that Melodyne displays
| | 04:05 | over each note blob in addition to
your ears to help center a pitch.
| | 04:09 | So in this case you can kind of see that
the pitch curve goes a little bit sharp.
| | 04:12 | I am going to undo, and we can see
that that pitch curve is actually poking
| | 04:16 | into the note G from the note F# so we can
visually see that the note is a hair sharp.
| | 04:21 | So again, holding Option or Alt
and clicking and dragging downward...
| | 04:25 | (music playing)
| | 04:28 | We can find the balance center
pitch, and we can also listen
| | 04:31 | until we find a spot that
sounds in tune to our ear.
| | 04:35 | We can further edit this, perhaps
even flattening out the pitch curve, by
| | 04:39 | selecting our Pitch Modulation tool
and clicking and dragging downward to
| | 04:43 | flatten out the pitch curve
so that it doesn't go as sharp.
| | 04:46 | In this case, we have now changed
where the center is so the note may
| | 04:49 | actually sound flat.
Let's have a listen...
| | 04:52 | (music playing)
| | 04:54 | Perhaps a hair flat, so we would
go back to our Edit Pitch tool,
| | 04:57 | hold Option or Alt and re-select
a new center for that pitch.
| | 05:02 | And let's have a listen to that...
(music playing)
| | 05:06 | So that and those first few notes are fine,
but now there is another funny note here.
| | 05:10 | We would select that, move it to the
new center and have another listen...
| | 05:14 | (music playing)
So we are pretty close there.
| | 05:18 | Let's look at one other
technique for doing this.
| | 05:20 | But first, I am going to reset the note.
| | 05:22 | I am going to choose Edit Pitch from
the Edit menu and select Reset All Pitch
| | 05:27 | Related Changes to Original, but that will
only change the one note that I have selected.
| | 05:31 | So now we are back to our original
place, and I am going to get back to the
| | 05:34 | Corrected Pitch by double-
clicking with our Edit Pitch tool.
| | 05:38 | So we were back to where we were with
a slightly sharp attack to the note.
| | 05:41 | So instead of actually editing the
center of the pitch first and then using
| | 05:44 | the pitch drift second, we can go
immediately to using the Pitch Modulation
| | 05:49 | tool to edit the curve of the pitch
right away, which in effect, can keep the
| | 05:53 | center where it should be but make the note
centered more closely around the center pitch.
| | 05:58 | So let's have a listen to that...
(music playing)
| | 06:01 | Essentially we get the same
result but maybe it takes a little
| | 06:04 | less time using that technique.
| | 06:06 | Feel free to play around with different
approaches to using these tools, and you
| | 06:10 | will find a workflow that works best for you.
| | 06:12 | Another thing we should look at
is the transition between notes.
| | 06:15 | There are a couple of ways that we
can edit transitions between notes.
| | 06:18 | Let's take a look at the transition
between the top note and the middle note
| | 06:22 | in our first phrase.
(music playing)
| | 06:25 | So pardon my voice, but that's
this part where we say, you said
| | 06:27 | you love me but, and we are going to
edit the note between me and but, and we
| | 06:31 | want to make a little slide in this example.
| | 06:33 | So we've already seen this using this
tool which you can get by using any of the
| | 06:38 | Pitch tools and placing your
cursor on the end between the two nodes.
| | 06:42 | We can either make the curve more
drastic or smoother by moving our mouse up or
| | 06:47 | down once we click with this tool.
| | 06:49 | So let's take a listen to a really
smooth transition which is going to
| | 06:53 | sound like a note slide.
| | 06:54 | This maybe too much, but let's
just see what it sounds like.
| | 06:56 | (music playing)
That's actually not too bad.
| | 07:00 | We could go even further here.
(music playing)
| | 07:04 | If this wasn't enough of a
change, and we wanted it to be a
| | 07:07 | more exaggerated and a slower change, there is
another technique we can use to accomplish that.
| | 07:12 | What we would do is select our Note
Separation tool and separate the end of one
| | 07:16 | note and the beginning of the other
into smaller chunks and grab our Pitch tool
| | 07:21 | and essentially slide them and
create our own manual pitch change.
| | 07:25 | So I am going to grab each region
holding the Option key so I can move them in
| | 07:29 | between the degrees of the scale.
(music playing)
| | 07:34 | And I am going to basically
create my own little fake slide...
| | 07:37 | (music playing)
| | 07:41 | And we can have a listen and
see what that sounds like...
| | 07:44 | (music playing)
| | 07:46 | So using that technique, you can lengthen or
actually shorten a slide between two notes.
| | 07:51 | Now let's look at one more tool that you can
use if you want to get an Auto-Tune like effect.
| | 07:55 | We kind of cover this earlier, but let's
look at it one more time just because it
| | 07:58 | is a very useful effect.
| | 08:00 | Selecting our Pitch Modulation tool,
and then selecting the area we want to
| | 08:04 | edit, we can double-click which will
set all of our pitch centers as close to a
| | 08:08 | straight line as possible.
| | 08:10 | You can see there is a little bit of
drift which is always going to be the case.
| | 08:10 | Auto-Tune sounding effect.
(music playing)
| | 08:13 | Sometimes it's really, really close,
sometimes it's a little bit more drift.
| | 08:17 | But now we can take a listen, and
we'll hear somewhat familiar
| | 08:23 | If you want that effect on your
vocal that's a really quick and
| | 08:26 | easy way to get it with a lot of
control because you can change specific notes
| | 08:30 | within a phrase to have that effect or
not to have that effect, and you can also
| | 08:34 | choose how much of the effect you want.
| | 08:36 | So I am going to undo this so we have
our natural vocal back, and I am going to
| | 08:40 | select our Pitch Drift tool, and I am
going to quickly take a listen to this one
| | 08:43 | note right here at the end of the first phrase.
| | 08:46 | (music playing)
| | 08:49 | On the word come, we can hear
that it starts pretty much on the
| | 08:52 | pitch, but it gets a little
bit sharp by the end of the note.
| | 08:55 | So what we can use the Pitch Drift tool
for is flattening that pitch curve out
| | 09:00 | preventing it from going
sharp at the end of the note.
| | 09:02 | So I am going to click, and I am going to
drag downwards to tilt the curve of that note.
| | 09:07 | And what you can see is this now causes
the beginning of our note to go a hair
| | 09:10 | sharp, it goes a little bit flat in
the middle, but now the end is a little
| | 09:13 | closer to the center.
So let's have a listen to that.
| | 09:16 | (music playing)
That's actually pretty good.
| | 09:19 | Now, for example, if we wanted it to
be a little bit more tight we could then
| | 09:23 | again choose our Pitch Modulation tool
and flatten out the Modulation or pitch
| | 09:27 | drift of this to make it
a little closer to center.
| | 09:30 | Now that we have done that, we can see
that it's starting to tilt in the other
| | 09:33 | direction, so we would choose our
Pitch Drift tool again and offset that.
| | 09:37 | So now we were closer to the pitch's
center throughout the note, and we can
| | 09:41 | listen to the effect of that.
(music playing)
| | 09:46 | Another thing we might want to
do while we are editing pitch is
| | 09:49 | fix or change the vibrato on a
specific part of the performance.
| | 09:53 | So first let's scroll to the right and
find a spot where we can edit a vibrato.
| | 09:57 | I believe there is one in a few bars.
Okay, so here is a vibrato that we can edit.
| | 10:02 | Let's have a listen to this...
(music playing)
| | 10:07 | Now we have heard this vibrato.
Perhaps our goal is to make it less drastic.
| | 10:10 | There is a couple ways we can do this.
| | 10:12 | First, for the sake of hearing it on the
right pitch, I am just going to snap it
| | 10:16 | to right center pitch, and then I'm
just going to separate each part of the
| | 10:19 | Vibrato every time it goes
below or above the center pitch.
| | 10:22 | So I am going to zoom in a little
bit more so we can just focus on the
| | 10:25 | section we want to edit.
| | 10:26 | I am going to choose my Note
Separation tool, and I can separate each section
| | 10:31 | of the vibrato so that I can individually edit
the center pitch of each part of that vibrato.
| | 10:38 | So now what I can do is using my Edit
Pitch tool, I can bring the ones that are
| | 10:42 | a little farther away from
center back towards the center...
| | 10:45 | (music playing)
| | 10:48 | ...to effectively even out the Vibrato.
| | 10:51 | And maybe I want to use my Pitch
Modulation tool to flatten out some of those
| | 10:55 | curves even further, and then
let's have a listen to the result.
| | 10:58 | (music playing)
| | 11:01 | Using that technique we have
essentially smoothed out or
| | 11:03 | flattened out a vibrato, and you can use
the same technique in reverse to make a
| | 11:07 | vibrato more pronounced or to make a
vibrato grow from less pronounced to more
| | 11:12 | pronounced by taking the beginning
notes closer to the center pitch, and
| | 11:17 | gradually allowing them to grow
farther away from the center pitch.
| | 11:21 | And over a note that sustain for a
longer duration this can become a
| | 11:23 | very noticeable effect.
(music playing)
| | 11:27 | So I am going to undo a few
times to set this all back to where
| | 11:29 | it was before we edit the vibrato,
un-separating each segment there.
| | 11:34 | I am going to show you another way
that we can separate those automatically.
| | 11:38 | So first I need to select the note
blob or region that I want to work on.
| | 11:42 | Then from the Edit menu I can choose
Edit Note Separations and either Separate
| | 11:47 | Note as Trill or Separate Note as Slide,
depending on which I'm working with, and
| | 11:51 | Melodyne will automatically break up
each section for me just like we did
| | 11:54 | manually a minute ago.
| | 11:56 | Feel free to try out all of
these techniques on your own.
| | 11:59 | You may even find other techniques or ways of
using Melodyne's tools that work great for you.
| | Collapse this transcript |
| Editing time| 00:00 | In this video, we're going to edit the timing of
a performance using the tools that we've covered.
| | 00:04 | So let's select our Move Notes tool, and let's
take a look at this phrase which is in bar 6.
| | 00:09 | I'm going to zoom out a little so we can
see a little better and play from bar 6.
| | 00:14 | (music playing)
| | 00:18 | It sounds like the second
syllable of the word leaving is a hair
| | 00:21 | late, and the first syllable of
the word tomorrow is a bit early.
| | 00:25 | So what we want to do in this example
is pull that second syllable of the first
| | 00:29 | word earlier and the first
syllable of the second word later.
| | 00:33 | So I'm going to use our Move Notes
tool, hold the Option or Alt key, click
| | 00:36 | near the beginning of our note blob, and
pull it a little bit earlier and have a listen.
| | 00:41 | (music playing)
| | 00:44 | We can also double-click to
snap this note to the suggested
| | 00:47 | rhythm and have a listen to that.
(music playing)
| | 00:52 | And that sounds pretty good.
| | 00:54 | So let's try that with the other note,
on tomorrow, and let's try it on the
| | 00:58 | second syllable of morrow as well.
Let's have a listen to that.
| | 01:02 | (music playing)
| | 01:05 | So perhaps the second syllable in
tomorrow was better where it was.
| | 01:08 | Let's listen to that.
(music playing)
| | 01:13 | So using that tool, you can see how we
can slide to alter the timing of a note.
| | 01:17 | We can also snap a note to a quantized
level by grabbing a note and pulling it earlier.
| | 01:23 | Next let's look at our quantization, if
we wanted to change the rhythm of a phrase.
| | 01:27 | We can select our phrase, then we can
open our Quantized Time window, either
| | 01:31 | from the Edit menu or with the key
command Command+Option+T or Ctrl+Alt+T, and
| | 01:36 | using the Quantized Time window we
can set a variety of different groove
| | 01:40 | references, either referring it
perhaps to our Instrumental or to different
| | 01:45 | levels of groove like quarter notes,
swung quarter notes, eighth notes, eighth
| | 01:51 | note triplets, 16th notes, 16th
note triplets, and so on and so forth.
| | 01:55 | And we can also quantize the intensity,
or in another words how close to the grid
| | 02:00 | from the original
performance we're going to snap.
| | 02:03 | So if set it to 100, everything will
snap right to the grid, and if we set the
| | 02:06 | Intensity to a lower level, the note
blobs will snap closer to the grid but not
| | 02:10 | all the way to the grid, and then we
can commit whichever one we want to try.
| | 02:14 | One last cool technique that we can use with
quantize in Melodyne is Creative Requantization.
| | 02:19 | So that we can take a look at this,
we're going to import a new audio file.
| | 02:22 | Let's import our new element using
the key command, Shift+Command+O or
| | 02:25 | Shift+Ctrl+O. Let's open our
Instrumental Elements folder from within our
| | 02:30 | exercise files folder, and let's
select Say Yes_Intro Piano.wav.
| | 02:36 | Melodyne will import this file and add
it to the end of your session, and now
| | 02:40 | let's open that in our editor.
| | 02:42 | I'm going to zoom out so I can see this
a little better using the 7 key on the
| | 02:46 | numeric keypad and the 1 key on the
numeric keypad, and let's take a listen.
| | 02:51 | (music playing)
| | 02:56 | I'm going to zoom back in a
hair, and I'm going to make a few
| | 02:59 | note separations where the beats lie
so that we can hear how this is going to
| | 03:03 | affect our quantization.
(music playing)
| | 03:08 | So essentially, what I want to
do is make note separations where
| | 03:12 | the piano attacks lie.
(music playing)
| | 03:15 | So there's one there.
(music playing)
| | 03:19 | There's one here.
Looks like we got the important ones.
| | 03:26 | (music playing)
And there's one more here.
| | 03:29 | So let's grab these, and we'll just
select this section, I'll zoom back out, and
| | 03:34 | then again we can open our
Quantize Time window with the key command,
| | 03:38 | Command+Option+T or Ctrl+Alt+T, and let's try
changing the feel of this to creatively requantize it.
| | 03:44 | So perhaps we wanted to use an eighth note triplet,
which will make our audio sound like it's swinging.
| | 03:49 | Let's take a listen to that.
(music playing)
| | 03:57 | So you can hear that it did in
fact change the rhythm, but one
| | 04:01 | thing to point out is that you might
also notice there's a little bit of a
| | 04:04 | warbling effect on some of the notes in
the piano, and that's one thing to keep
| | 04:08 | in mind when you're using any of these
tools on Melodyne is that while you can
| | 04:11 | do it, it may also have
adverse affects to your audio.
| | 04:14 | So be careful when you notice those,
because they may not be elements that you
| | 04:18 | want to leave in your audio.
| | Collapse this transcript |
| Editing an example exercise, part one| 00:00 | In this video let's use the tools that
we've learned in a real-world example.
| | 00:04 | In your exercise files folder, find
your Sessions folder and open the Melodyne
| | 00:08 | project called Melodyne Studio_Exercise.mar.
| | 00:12 | If you've already been working with
this file and it's already open, you
| | 00:14 | probably won't run into this.
| | 00:16 | But if you're opening it for the first
time, you may notice that it needs to
| | 00:19 | re-link a certain audio file.
| | 00:21 | If that's the case just point Melodyne
towards that file in your exercise files
| | 00:25 | folder and Melodyne will re-link the
file and move forward normally from there.
| | 00:29 | It may also need to regenerate the .mdd
files for each of the audio files, so it
| | 00:34 | may take a moment on the first open to do that.
| | 00:36 | So I'm going to go ahead and open this
file, launching Melodyne, and Melodyne is
| | 00:42 | going to recreate the MDD file for each
of these audio files since they're not
| | 00:46 | in my exercise files folders right now.
| | 00:48 | This is very much like what you may see if
you're opening the file for the first time.
| | 00:52 | If you see a pop-up window that says
Missing MDD Files, and it says that they
| | 00:56 | could not be found and were recreated, that's fine
if it's the first time you're opening the session.
| | 01:00 | Now, if you've deleted the MDD
files, you may run into this again.
| | 01:03 | In that case, you probably should check
everything to make sure it sounds right.
| | 01:06 | Here we are in our Arrangement window,
and before we get started, I'd like to
| | 01:10 | thank Eoka, an Underground Sun
Recording Artist, for letting us use her song.
| | 01:14 | And I'd also like to point out that
the lead vocal that we're going to be
| | 01:17 | manipulating in this course has already
been tweaked in the sense that I took a
| | 01:21 | perfectly great performance and made
it sound bad so that we had something to
| | 01:25 | work with in this course.
| | 01:27 | So if you'd like to hear the original
song, the vocal on that song is actually
| | 01:31 | Eoka's natural performance, and
she did not need any of this tuning.
| | 01:34 | The tuning that we're doing here is
all just for the sake of education.
| | 01:38 | Let's open up the Editor window,
Shift+Command+E or Shift+Ctrl+E, and I'm
| | 01:42 | going to use the marker I created previously
called Full Song to Zoom to the entire song.
| | 01:47 | Now I'm going to go up to the top
right-hand corner of the Editor window and
| | 01:50 | select my Lead Vocal_Example track.
| | 01:53 | I'm also going to select my
Instrumental so that I can hear the instrumental
| | 01:56 | while I'm working and switch back to
my Lead Vocal_Example and make sure
| | 01:59 | that Play visible is selected so that
I'm going to hear both the lead vocal
| | 02:03 | and instrumental track.
| | 02:05 | Before I proceed, I'm going to go
to the Mixer, with Shift+Command+M or
| | 02:09 | Shift+Ctrl+M, and I'm just going to
drop the level of our Instrumental track so
| | 02:12 | that it's not so loud that it
competes with the Lead Vocal.
| | 02:15 | So the reason I'm lowering my
Instrumental Fader rather than raising the Fader
| | 02:19 | on my Lead Vocal track is because
when I export later, Melodyne is going to
| | 02:23 | export through the level of my Fader.
| | 02:26 | And if I'm going to be mixing in my
DAW, I'm probably going to want my
| | 02:29 | finished and corrected Lead Vocal
to be at the same level that it was
| | 02:32 | originally in my DAW.
| | 02:34 | But if I raise the level of my Fader
in Melodyne and then export, the new
| | 02:38 | level of my exported audio file will
be louder than what was in my DAW, which
| | 02:42 | will affect my mix.
| | 02:44 | So I'm going to close my Mixer window,
return to my Editor window, and I'll zoom
| | 02:48 | in using the 9 key on the numeric keypad,
and locate the first section of vocal
| | 02:52 | on this track, and I'm just
going to have a quick listen.
| | 02:55 | (music playing)
| | 03:02 | And again, this vocal that we just heard
is the version that I edited for the course.
| | 03:06 | So what we're going to be doing is
treating this as if it were a bad performance
| | 03:10 | that we need to correct.
| | 03:12 | So let's begin by correcting this lead vocal.
| | 03:14 | The first technique that I want to
show you is one that I learned from a good
| | 03:17 | friend, and what we do in this
technique is we first select our Note Separation
| | 03:20 | tool, and we go through and separate
any sibilances, esses, plosives, or note
| | 03:25 | changes within our blobs.
| | 03:27 | And so for this example let's just go
through the first few bars using this
| | 03:31 | technique, and we'll go through
and just do a passive separation.
| | 03:33 | So I'm going to zoom in a little bit.
(music playing)
| | 03:37 | So I've got a sibilance here,
I've got a note slide there, I'll
| | 03:43 | probably leave that, separate this note here.
| | 03:47 | Looks like that sibilance didn't
get separated, let me try that again.
| | 03:49 | There we go!
(music playing)
| | 03:54 | And just a reminder, I'm separating by
just double-clicking with this tool.
| | 03:57 | (music playing)
More of a slide than I might want.
| | 04:04 | Same here at the end.
(music playing)
| | 04:08 | Separate the S. And basically,
I'm just going through and
| | 04:14 | separating anything that could be a
separate note or anything that's a breath or
| | 04:18 | an S. So I'm going to go
through a few more bars like this.
| | 04:23 | (video playing)
| | 04:39 | So one thing to point out about
separating notes--and what we're
| | 04:41 | going to do is Zoom in so we can see
this one note really clearly--is that when
| | 04:45 | we click with the Note Separation
tool and separate, it's usually going to
| | 04:49 | separate right where we put the cursor.
| | 04:51 | But sometimes Melodyne will move the
separation just slightly to one side or the
| | 04:54 | other, where it thinks you meant to click.
| | 04:57 | I'm going to undo this edit, Command+Z
or Ctrl+Z, and I'm going to put my cursor
| | 05:00 | slightly to the right of that
crossing and double-click again.
| | 05:04 | And this time we can see that Melodyne
has automatically shifted the placement
| | 05:07 | of my note separation just
slightly to the left of my cursor.
| | 05:09 | It has a fairly smart algorithm that
detects where the note separation should be.
| | 05:14 | So if you're not exactly on the
spot, if needed, Melodyne will make
| | 05:17 | that adjustment for you.
| | 05:19 | I'm going to Zoom back out and continue on.
We'll go through maybe bar 12.
| | 05:23 | So separate a few more of
these esses and note changes.
| | 05:27 | (music playing)
| | 05:31 | Sometimes I like to play while I do this
so that I can kind of hear what I'm doing.
| | 05:35 | After you've done it for a while,
you'll probably also get familiar with
| | 05:38 | just what it looks like.
| | 05:41 | (music playing)
| | 05:54 | So in these two cases, I'm
selecting the bottom note, which is
| | 05:59 | really not a different pitch, but it's
more of a pitch slide that maybe I want
| | 06:02 | to change a little bit.
| | 06:03 | So now we're essentially just
editing through the beginning of bar 12.
| | 06:07 | So let's scroll our selection back to
the first bar, I'm going to Zoom back out
| | 06:11 | just a hair so I can see more of our waveform.
| | 06:14 | And what we can do now is make a
selection of all of the notes that we just
| | 06:19 | separated and then use our
Correct Pitch tool, Command+Option+P or
| | 06:24 | Ctrl+Option+P, set our Pitch Center.
| | 06:29 | Depending on the type of project you're doing,
you'll want to play around with the right setting.
| | 06:32 | I usually like to keep it fairly
natural, as with the Pitch Drift, and it
| | 06:36 | automatically will move all of those
notes that we just separated to the note
| | 06:39 | that Melodyne thinks that,
that note should be on.
| | 06:42 | Now let's take a listen and
see what this sounds like.
| | 06:45 | (music playing)
| | 06:58 | So already we can hear that
there are some issues with this.
| | 07:01 | What we would do using this technique
is move forward, fix those issues, and
| | 07:06 | also fix the esses and the other
pitches that may have been changed that we
| | 07:09 | didn't want changed or that may have
been changed to a note that we didn't
| | 07:12 | want them changed to.
| | 07:14 | I'm going to Zoom in a little, using
the 9 key on the numeric keypad, Zoom in a
| | 07:18 | little bit vertically using the 3 key on
the numeric keypad, and holding Command
| | 07:22 | or Ctrl, I'm going to scroll to the
left so I get back to the beginning of our
| | 07:27 | selection here, and we'll just
go through this phrase by phrase.
| | 07:30 | So now I'm going to select my Pitch tool.
(music playing)
| | 07:37 | I'm going to slide this
note up to the right pitch.
| | 07:39 | (music playing)
| | 07:41 | It's a little bit sharp, so I
can pull it down, or I can use my
| | 07:44 | Pitch Modulation to kind of
flatten it out a little bit.
| | 07:48 | (music playing)
| | 07:50 | I'm also going to flatten this one out because
it's just a hair sharp at the beginning.
| | 07:53 | (music playing)
| | 07:55 | My next note is sharp, so
I'm going to drag it down.
| | 07:58 | (music playing)
| | 08:01 | This note gets a little bit
sharp, so I can flatten it out
| | 08:04 | with my Pitch Modulation, or I can also use my
Pitch Drift to kind of rotate it a little bit.
| | 08:10 | (music playing)
| | 08:13 | Now, here at the end of the
word won't, the note gets a little
| | 08:15 | sharp, and the reason I separated it
was so that I could bring it back down and
| | 08:19 | make it a little less noticeable.
(music playing)
| | 08:23 | I'm going to scroll back on
the word come before down.
| | 08:27 | What I want to do is flatten this a little bit.
| | 08:31 | And I also want to use my Pitch Drift
tool to tilt the curve so that it stays a
| | 08:35 | little more close to center.
(music playing)
| | 08:39 | And then at the end of the
word down, I'm going to bring the
| | 08:41 | last bit up so that it doesn't go flat.
(music playing)
| | 08:47 | I scroll back here, we've got
an S. It may or may not have been
| | 08:50 | changed by our pitch change, so what I
would do is go to my Edit Pitch and Reset
| | 08:55 | Pitch Center to Original.
| | 08:57 | And you can see that, that
actually did reset the pitch.
| | 09:00 | It may not be even audible, but sometimes
it can be a little bit phasey when an S
| | 09:04 | or a breath gets changed in pitch.
| | 09:06 | So I like to reset them just to
keep it as natural as possible.
| | 09:09 | (music playing)
| | 09:12 | Okay. So we've got a little
work to do in this section.
| | 09:15 | (music playing)
Sounds like this is sharp.
| | 09:19 | (music playing)
| | 09:27 | It's a little better.
| | 09:29 | I'll double-click that to
center it a little more, same here.
| | 09:34 | I might try and make this a little bit
smoother transition between the two notes.
| | 09:38 | (music playing)
| | 09:40 | And I might flatten out the curve of this
next note since it starts just a hair sharp.
| | 09:45 | (music playing)
| | 09:47 | I could do the same thing with
the first syllable in tomorrow.
| | 09:51 | (music playing)
| | 09:54 | I'm going to select the S in
say again and reset this, and
| | 09:59 | again, when you use something a lot,
you're probably going to want to set a
| | 10:02 | shortcut that lets you invoke it
without having to go into the menu every time.
| | 10:05 | And again, we'll look at that in a later video.
| | 10:07 | For now, I'm going to reset
to Center, keep listening.
| | 10:10 | (music playing)
| | 10:12 | Just a hair sharp here, so I'll center
it and probably flatten it just a bit.
| | 10:18 | (music playing)
Flatten this maybe a touch.
| | 10:23 | (music playing)
| | 10:26 | Well, we've got a little pitchiness in here.
(music playing)
| | 10:35 | And I went the wrong
direction, so let's fix that.
| | 10:38 | (music playing)
| | 10:44 | All right! What I'm going to do now is use the
Pitch Drift tool to kind of flatten this out
| | 10:48 | so that the pitch stays, again, around
the center of the pitch throughout the
| | 10:51 | duration of the note.
(music playing)
| | 10:54 | But now we hear a little bit of
a jumpiness on the transition.
| | 10:57 | So we can use our Transition tool
to smooth that out a little bit.
| | 11:01 | And in this case, it's still a
bit jumpy, so maybe I'm going to
| | 11:04 | undo this using our nondestructive
editing and try a different approach.
| | 11:08 | Maybe I will separate the note and give
it a little bit more natural transition
| | 11:13 | by actually building a bit of a pitch
transition in between, and then perhaps
| | 11:17 | taking the top note and
flattening the curve instead.
| | 11:21 | (music playing)
| | 11:23 | And again, we still have a
little bit of a jumpiness to it, so
| | 11:26 | what we would do is just keep trying
different things until we get rid of it.
| | 11:29 | So perhaps what I need to do in this
case is make another separation, maybe
| | 11:33 | earlier on, drag that note down.
| | 11:36 | And it's also possible that it's in the
actual file itself, and so if that's the
| | 11:40 | case, we can always check that by
resetting the entire thing to the default
| | 11:43 | state and listening.
Let's see if this fixed it.
| | 11:47 | So it is still a bit jumpy, so
in this case what I'm going to do
| | 11:50 | is Reset all of our Pitch Changes to
Original, I'm also going to Reset my Pitch
| | 11:56 | Modulation to Original, and I'm going
to Reset the Pitch Drift to Original.
| | 12:01 | A faster way to do this is just to choose
Reset All Pitch Related Changes to Original.
| | 12:06 | And now, if we solo this track
and go into the Mixer and mute the
| | 12:10 | instrumental, we can hear if this is
actually part of the vocal or something
| | 12:15 | that we're doing with the tuning.
(music playing)
| | 12:18 | So I do hear a little bumpiness in there.
| | 12:20 | One other thing I can do to
check this is make sure that my note
| | 12:22 | separations aren't causing it.
| | 12:24 | So I can select the Note Separation
tool and remove each one by double-clicking
| | 12:28 | on each note separation line to remove it, or I can
also just undo several times until I've reverted.
| | 12:39 | And now that we've removed the note
separations, I'm just going to listen and
| | 12:41 | see if that jumpiness is still there.
(music playing)
| | 12:44 | So I do still hear a little
bumpiness in the vocal, which means
| | 12:47 | it could just be something natural in
her voice or something that we have no
| | 12:51 | control over changing in Melodyne.
| | 12:53 | You perhaps could draw that out in Pro
Tools or in another application, but for
| | 12:56 | now, we'll just focus on changing the pitch.
| | 12:59 | But this is something that
you'll run into from time to time.
| | 13:01 | So moving on, we'll redo our edit here.
| | 13:08 | (music playing)
| | 13:13 | And I want my instrumental track back in.
| | 13:16 | So I'll go back to my Mixer, Shift+Command+M
or Shift+Ctrl+M, unmute my instrumental.
| | 13:21 | (music playing)
| | 13:27 | That note should be a
little bit higher, so I'm holding
| | 13:30 | Option and dragging it up.
(music playing)
| | 13:34 | Maybe not as much as I did.
(music playing)
| | 13:36 | So I'll hold Option and go the other direction.
| | 13:40 | (music playing)
| | 13:46 | These two notes should be lower.
(music playing)
| | 13:52 | As should this one.
(music playing)
| | 13:54 | And it looks like this
transition might be a little longer than
| | 13:57 | I might want, so I'll
smooth it a little bit less.
| | 14:00 | (music playing)
And last bar here.
| | 14:07 | (music playing)
| | 14:10 | Okay. And that note looks like it
was detected on the wrong pitch.
| | 14:13 | So first, I'm going to
separate the breath off of the end.
| | 14:15 | Then I'm going to select both parts of the note.
(music playing)
| | 14:19 | Move it to the correct pitch
and center it by double-clicking.
| | 14:22 | (music playing)
| | 14:27 | And now we've corrected these first
12 bars using this technique.
| | Collapse this transcript |
| Editing an example exercise, part two| 00:00 | So if you've been following along, we
can just pick up where we left off at the
| | 00:03 | end of bar 12, and we are going to continue
forward editing with a few different techniques.
| | 00:08 | I am going to Zoom out just a hair
using the 1 key and the 7 key on my numeric
| | 00:13 | keypad and listen to the next few phrases.
| | 00:16 | (music playing)
| | 00:29 | I do have to apologize, I
did alter this vocal to make it
| | 00:33 | better example material, and I think I
went a little far and made some of these
| | 00:36 | performances a little bit too out,
so let's fix them, going back to this
| | 00:40 | phrase, coming into bar 13.
| | 00:43 | And this time what we are going to do
rather than separating first, and then
| | 00:46 | tuning them is we are going to
separate and tune as we go note by note,
| | 00:51 | essentially fixing what we hear as we hear it.
| | 00:53 | So let's move forward phrase by phrase.
(music playing)
| | 01:00 | So I'll make a note
separation for this pitch change here,
| | 01:03 | looks like there is no sibilances,
and use our Edit Pitch tool, select the
| | 01:09 | entire section, double-click to essentially
quantize them to the nearest detected pitch.
| | 01:14 | Now let's have a listen to this.
(music playing)
| | 01:20 | So we are pretty close,
one note is a little flat.
| | 01:23 | So I'll click it and drag it
up with the Edit Pitch tool.
| | 01:29 | Not bad, and now, going in and out of that note
| | 01:32 | sounds like it might be a little flat
or maybe the note itself is a little
| | 01:35 | sharp, so let's look at that.
| | 01:36 | What I am going to do is
Option-click or Alt-click.
| | 01:39 | (music playing)
And drag these two notes up.
| | 01:43 | And I might also use my Pitch
Modulation tool to flatten the curve of this note
| | 01:47 | a little as well as the top
note, and then listen to it.
| | 01:51 | (music playing)
| | 01:55 | Still sounds like that last
note on the end of life is a little
| | 01:58 | bit out let's figure out why.
(music playing)
| | 02:00 | It might just be that it's just
going a hair flat with the pitch there.
| | 02:03 | (music playing)
Perhaps it's sharp. Let's check that out.
| | 02:09 | (music playing)
| | 02:13 | It could also be that the next
note is out, which I believe is
| | 02:16 | what's actually going on in this case,
and it's making that note sound more out.
| | 02:19 | So let's take a look at that.
| | 02:21 | (music playing)
| | 02:24 | Put that note where it
should be, perhaps flatten out its
| | 02:27 | pitch curve a little bit.
(music playing)
| | 02:31 | That's much better, but this
note is indeed still just a
| | 02:34 | hair flat, so we are going to move it back up,
Option-click or Alt-click with the Pitch tool.
| | 02:39 | (music playing)
And drag it up until it sounds right.
| | 02:43 | And one cool thing in Melodyne is
that when you click and drag a note up or
| | 02:47 | down, as long as you have the
preference enabled to do so, you can hear the
| | 02:50 | pitch playing as you move it.
| | 02:52 | You can also hear the pitch of the
instrumental playing if it's not muted, and
| | 02:56 | you have one in your session obviously,
so we can actually use that sound to
| | 03:00 | help us align the pitch to the right spot.
(music playing)
| | 03:09 | Let's take a listen to that.
(music playing)
| | 03:16 | So we can spend a little more time
on it, but let's move on for now.
| | 03:19 | (music playing)
| | 03:24 | But is a little flat.
(music playing)
| | 03:30 | And the last note in life is
still bugging me just a hair, so
| | 03:33 | what I am going to do is
flatten it just a little bit.
| | 03:34 | I am also going to use the Pitch Drift
tool to flatten it out just a little bit.
| | 03:41 | And then the Pitch Modulation
tool to flatten it just a hair more.
| | 03:45 | (music playing)
| | 03:48 | And that sounds better, but
now the change or the transition
| | 03:51 | between the two notes is a little sharp,
so I am going to soften that a little
| | 03:54 | bit with our Transition tool.
(music playing)
| | 03:59 | And I am just going to
move it just a hair sharper.
| | 04:02 | (music playing)
| | 04:09 | So basically, this technique--as
you can see--it takes a little
| | 04:12 | bit more time because you're spending
more time on each aspect of tuning as you go.
| | 04:17 | But you can also really know that
you're getting it exactly where you want it
| | 04:21 | without having to do multiple passes,
whereas in the other techniques you
| | 04:25 | generally do want to do a second pass,
perhaps even a pass with the instrumental
| | 04:28 | muted so that you can make sure
you're catching every little nuance.
| | 04:32 | But let's continue on with this.
(music playing)
| | 04:36 | So these are all fairly well separated.
| | 04:38 | So I am going to select them and double-
click with the Pitch tool to center the
| | 04:43 | notes and have a listen.
(music playing)
| | 04:46 | Pretty close, I am going to
flatten out the Pitch Modulation
| | 04:49 | here, and I believe this note might be sharp.
(music playing)
| | 04:54 | No, probably not, it could just
be that the last part of it is.
| | 04:58 | (music playing)
| | 05:01 | Yup, and that means I am going to
split it with the Note Separation tool.
| | 05:05 | I am actually going to set that last
part of the note to a pitch, and perhaps
| | 05:11 | even use the Pitch Modulation
tool to flatten it just a hair.
| | 05:15 | (music playing)
| | 05:19 | Which is a little bit better,
and we'll move on to the next
| | 05:21 | section, select my Pitch tool, double-click.
(music playing)
| | 05:29 | So this note is not the right note.
(music playing)
| | 05:33 | And it goes a little sharp, so
my options are to use my Pitch
| | 05:36 | Modulation tool to flatten it out a
hair, or I can undo that and use my Edit
| | 05:42 | Pitch tool while holding Option or Alt
to just drag it down so that the center
| | 05:47 | of the pitch drift line is right about the
center of the pitch that I want it to sound like.
| | 05:51 | (music playing)
| | 05:56 | And both techniques work
perfectly well, really it's just a
| | 05:58 | matter of the decision you need to make,
whether you want your performance to
| | 06:02 | sound natural or whether you don't mind
your performance sounding a little more
| | 06:05 | polished and perhaps affected.
| | 06:08 | (music playing)
| | 06:26 | So those are just a hair sharp.
| | 06:28 | Just slide them down, in this case I
might use my Pitch Drift tool since the
| | 06:32 | beginning is a little sharp and then
it goes a hair flat after that--just kind
| | 06:36 | of flatten the note out with this tool.
(music playing)
| | 06:41 | And correct these two notes.
| | 06:43 | (music playing)
Change this.
| | 06:47 | (music playing)
| | 07:19 | So I am basically just
adjusting using the same techniques that
| | 07:22 | we've been going over to get each
note right about where it needs to be.
| | 07:26 | (music playing)
| | 08:03 | And here at the end of this
phrase, I might flatten this
| | 08:06 | pitch drift a little bit.
| | 08:09 | (music playing)
| | 08:12 | And I might flatten this
modulation a little bit.
| | 08:16 | (music playing)
| | 08:37 | And on and on, and we can
basically go through the song using
| | 08:40 | this technique or any combination
of the techniques to get the vocal
| | 08:44 | basically where we want it.
| | 08:45 | One other thing I want to point out is
that we can also use our Amplitude tool
| | 08:49 | to make soft notes a little louder,
essentially pre-mixing our vocal.
| | 08:54 | (music playing)
| | 09:01 | So if, for example, this word
care was just a hair soft, we can
| | 09:04 | just use our Amplitude tool to click,
select, and increase the level just a
| | 09:09 | hair on that vocal.
(music playing)
| | 09:14 | We can go through and make any
little adjustments like that so
| | 09:17 | that when we get to mixing
things are a little bit more balanced.
| | 09:20 | And sometimes when you're recording
a vocal, you might find that the mike
| | 09:23 | setting was just a hair different on
two different takes, and this is a really
| | 09:26 | handy way to fix that, because you
might have one part of the take where the
| | 09:30 | singer was just a hair farther off the
mike, and so you can bring the volume up
| | 09:34 | to make the match using this tool.
| | 09:36 | Just like you could do with automation
in your mix or just like you could do
| | 09:38 | with gain in your other DAW.
| | 09:41 | We can also use our Move Notes tool to
fix any rhythmic issues that we encounter.
| | 09:47 | (music playing)
| | 09:54 | And really, we don't have to
worry about that too much with this
| | 09:57 | performance, because there aren't a lot.
| | 09:58 | But perhaps this transition on the word
love, we want it to come a little later
| | 10:02 | or sooner, we can really easily change
that by holding the Option or Alt key,
| | 10:06 | clicking with our Move Notes tool to
change where that transition happens.
| | 10:09 | (music playing)
| | 10:12 | To make it a little later or
to make it a little earlier.
| | 10:15 | (music playing)
| | 10:20 | Likewise, if one of these notes was late--
let's just pretend the vocal was here.
| | 10:25 | (music playing)
| | 10:28 | We could just adjust it by
Option-clicking and dragging earlier
| | 10:31 | to place it where we want it
to fix any rhythmic issues.
| | 10:35 | (music playing)
| | 10:40 | As you work in Melodyne,
you'll begin to see how all of the
| | 10:43 | tools work together to provide a
very natural and powerful workflow.
| | 10:46 | And the more you work with Melodyne,
the more likely you are to find a workflow
| | 10:49 | that really works well for you.
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|
4. Exploring the PreferencesExploring hardware setup, file types, and the Appearance page| 00:00 | Now that we've explored the interface a bit,
let's take a deeper look at our preferences.
| | 00:04 | We're going to open our Preferences
by choosing Melodyne menu and selecting
| | 00:07 | Preferences or by using the key
command, Command+Comma on a Mac.
| | 00:12 | Once we're in our Preferences
let's first look at our Hardware setup.
| | 00:15 | We've already taken a quick look at
this earlier before we started, but here
| | 00:18 | you can select your Device Driver, your Sample
Rate, your Buffer Size, and your File Cache.
| | 00:23 | You may notice that our Sample Rate
here is blank, and that's just because
| | 00:26 | the specific audio setup that we're using
requires the sample rate to be set elsewhere.
| | 00:30 | In our Recording tab, we can set our
File Format, which currently we're using
| | 00:34 | WAVE, you can also set your bit depth
or your Resolution, we're working at
| | 00:37 | 24-bit right now, and you can also set
the location for unsaved arrangements.
| | 00:42 | Usually, by default, it's set in the Melodyne
folder within the Music folder in your User folder.
| | 00:47 | Now let's take a look at our Appearances pane.
In here, you can change the look of Melodyne.
| | 00:52 | You can choose from several preset
styles, the default being gray or a blue
| | 00:57 | background or you can use custom colors
by setting any specific color you want
| | 01:02 | for any element within the display.
| | 01:04 | So we could make our background green
if we want, and we could make our notes
| | 01:09 | a darker blue if we wanted.
| | 01:10 | Here you can also set the Brightness,
you can also set the Unselected
| | 01:18 | brightness, you can choose your Autoscrolling--
| | 01:22 | smooth meaning that it's constantly
scrolling, and Page per Page meaning that
| | 01:27 | scrolling will jump to the next page when the
playback cursor reaches the end of the page.
| | 01:31 | And then you can also set your Mid C Name,
and the Tempo Display Format.
| | 01:38 | Here we can also enable Showing Tool Tips,
which means when you roll over
| | 01:41 | something, it'll pop up with its name, and we
can also Show Slider Values while Editing.
| | 01:46 | These preferences can help you tweak
the look and feel of Melodyne quite a bit.
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| Specifiying the defaults for new projects using New Arrangements| 00:00 | In the New Arrangements Preferences
tab, we can specify the defaults for
| | 00:03 | newly created projects.
| | 00:05 | Here we can set the value to which the
Master Fader will default in a new session.
| | 00:10 | We can also set the value
for our Time Background.
| | 00:13 | You may want to work in Seconds or SMPTE,
if you're going to be using sync, and
| | 00:16 | we'll talk about sync a little bit later.
| | 00:17 | Here you can also choose to activate
Beat Snap and Pitch Snap in your new
| | 00:22 | sessions as well as have
Cycle active by default.
| | 00:25 | And you can also select the option to
have the first recording determine the
| | 00:28 | tempo of your project.
| | 00:30 | It's always nice to start a new project
and have everything right where you want
| | 00:33 | it, and this is the place
to set those preferences.
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| Exploring the Plug-ins page| 00:00 | The Plug Ins preferences in Melodyne
allow you to use your audio processing
| | 00:03 | plug-ins within Melodyne mixer.
| | 00:06 | Let's take a look at the
Plug Ins Preferences page.
| | 00:08 | Here you can see a list of the
currently enabled plug-ins, and you'll also the
| | 00:13 | check box for AudioUnits
Effects and VST Effects.
| | 00:16 | So if your DAW uses AudioUnits or VST,
you can enable all of the plug-ins that
| | 00:21 | you use in that DAW for use in Melodyne as well.
| | 00:24 | You can also choose to rescan the selected
plug ins within this list if you need to.
| | 00:28 | And we're going to look at
using the mixer a little bit later.
| | 00:31 | So let's enable our AudioUnits Effects
so that we have those plug-ins for use
| | 00:35 | in the mixer later.
| | 00:36 | Once you enable the AudioUnits Effects,
you can see that Melodyne begin scanning
| | 00:40 | each of these plug-ins, in
this case, there are quite a few.
| | 00:43 | Having access to your full arsenal of
plug-ins can really help your working mix
| | 00:46 | sound great in Melodyne.
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| Setting MIDI preferences| 00:00 | Melodyne allows us to use MIDI in
various ways, and we can set that up in the
| | 00:03 | MIDI preferences in Melodyne.
| | 00:06 | First let's take a look at our MIDI
Ports and here we can set our Default Input,
| | 00:10 | so if you're using a MIDI keyboard,
you can choose that from the list here
| | 00:13 | assuming it's connected and
recognized by your computer.
| | 00:16 | For more information on setting a
MIDI, check out the ProTools Essential
| | 00:20 | Training courses with David Franz.
| | 00:21 | You can also set your Default Output,
your MIDI Time Code, In and Out, if you
| | 00:26 | want to receive or send MIDI time code,
and you can also set your MIDI Clock, In
| | 00:30 | or Out, if you want to
receive or send MIDI clock.
| | 00:33 | Under the MIDI Remote Control page, we
can set up an external MIDI mix controller.
| | 00:38 | On the Options tab, you can choose to
add and here you can see you can set up
| | 00:42 | a Generic Controller or you can
choose from preset controllers that are
| | 00:45 | already set up and preconfigured to work, you
can choose to Remove, Edit, or Import or Export.
| | 00:52 | If you've created a custom generic
controller that's mapped to work with your
| | 00:55 | control surface, you can export it so
that next time you need to import it or
| | 01:00 | perhaps if you had to reinstall Melodyne,
you can directly import it rather than
| | 01:03 | setting it up again.
| | 01:04 | So here you can see that we set up a
generic controller or at least started to,
| | 01:08 | you can double-click it to edit it or
choose Edit from the dropdown menu and
| | 01:13 | here you can see the MIDI input, the
number of banks which you can add or
| | 01:16 | remove, you can also add and remove mapping.
| | 01:19 | You can choose what type of event the
channel that it's sent on, the channel
| | 01:23 | number, and then what it's going to
correspond to or control in Melodyne.
| | 01:28 | Here we can add another controller,
we can choose to send this to different
| | 01:32 | channels or receive from different
channels, and we can say we want to control
| | 01:37 | another Track Gain in Melodyne,
perhaps on a different channel number.
| | 01:42 | You can use this window to customize
a control surface setup to use your
| | 01:45 | control surface with Melodyne even if it's not one
of the preset and supported default configurations.
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| Using the Detection settings| 00:00 | The Detection settings in Melodyne
allow you to auto-detect the pitches of each
| | 00:04 | audio file or region on import.
| | 00:06 | So on the Detection settings page, we can
specify which detection preset to use by default.
| | 00:12 | Melodic is best suited for a vocal or
audio content that contains a single
| | 00:16 | note melodic melody.
| | 00:18 | The Percussive setting is good for
drums or anything that's more rhythmic
| | 00:22 | based and not so much pitch based, and
Polyphonic is good for multiple notes at the same time.
| | 00:28 | So you would want to use polyphonic to detect
a guitar or any audio that contains harmony.
| | 00:33 | In Melodyne Studio, we can't actually
edit polyphonic material, but we can in
| | 00:37 | Melodyne Editor also known as Melodyne
Singletrack, with Direct Note Access or
| | 00:41 | DNA technology which we'll look at shortly.
| | 00:44 | Under the Options menu, we can choose
to Add, Remove, Edit, Import or Export
| | 00:49 | additional detection presets.
| | 00:51 | If we choose to add a new parameter set,
we can name it, specify the highest and
| | 00:56 | lowest note, separation sensitivity.
| | 00:59 | Given all of the settings provided by
Melodyne, we can create our own custom
| | 01:02 | parameter set that's custom tailored to
work with a specific piece of audio or
| | 01:07 | a specific workflow.
| | 01:08 | Once you've created one that you're
happy with, you can actually export it, and
| | 01:12 | then import it later on
another system if you want to.
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| Building custom shortcuts| 00:00 | One of the best features in Melodyne
studio is the ability to set your own
| | 00:03 | custom shortcut keys.
| | 00:05 | So let's select our Short Cuts,
Preferences page and here you can see the Action
| | 00:10 | column and the Key column.
| | 00:11 | In the Action column you see a list
in their submenus of each function in
| | 00:15 | Melodyne to which you can assign a key command.
| | 00:18 | One thing that's important to know is
that the shortcuts are only available in
| | 00:21 | Melodyne studio and not in Melodyne
editor also known as Melodyne singletrack.
| | 00:26 | So quickly let's take a look at some of
the actions that we can assign, and I'll
| | 00:29 | show you some of the key
commands that I like to use when I work.
| | 00:32 | So under the Windows menu
everything is pretty much where I like it.
| | 00:34 | But you may find that in your workflow
you access the Tone Scale very frequently.
| | 00:38 | So you may want to assign your own
custom shortcut to open that window without
| | 00:42 | having to use the menu.
| | 00:44 | All you've to do to that is just type
the key command that you want to use and
| | 00:47 | one thing to note is that if you do
try and assign a shortcut that already
| | 00:50 | exists elsewhere, a dialog box will tell
you that it's already in use and ask if
| | 00:55 | you want to change it anyway.
| | 00:56 | If you do change it anyway, you'll
see that it will assign that shortcut to
| | 01:00 | your selected action.
| | 01:01 | But it'll remove that shortcut from
wherever else it was previously being used.
| | 01:05 | So do be careful with this if it's a key
command that you're going to use commonly.
| | 01:09 | So I'm going to put back the Transport
bar key command, and I'll use a different
| | 01:13 | key command for the Tone Scale for now.
| | 01:17 | Under our File Commands everything is pretty
much already assigned in a very useful way.
| | 01:21 | But depending on what DAW you're
familiar with, you may want to change some of
| | 01:25 | these to conform with Key
commands that you're already used to.
| | 01:27 | For example, if you use Pro Tools, you
may want to change your Import Audio File
| | 01:31 | key command to match what
you're used to in Pro Tools.
| | 01:34 | On a Mac, you can set it to Shift+
Command+I to match Pro Tools, which is
| | 01:38 | actually what I do just because I'm so
familiar with using that key command.
| | 01:41 | Again, if you wanted to change Insert
Empty Tracks, you can use the key command
| | 01:46 | Shift+Command+N from Pro Tools.
| | 01:48 | And if you wanted to assign a key
command for Remove Selected Track, you can
| | 01:52 | do that here as well.
| | 01:54 | So basically, every single one of
these Action submenus allows you to
| | 01:57 | assign different things.
| | 01:59 | So take a look through them on your own,
figure out which things you're going to
| | 02:01 | use the most, and assign key
commands or shortcuts wherever you feel that
| | 02:05 | they're going to be the most useful.
| | 02:07 | Likewise, if you find that you end up
using a certain action many times, you may
| | 02:11 | decide just to assign a key
command or a shortcut at that point.
| | 02:14 | I'm going to show you a few more
things that I like to do within Melodyne.
| | 02:18 | One thing that I like to do under the
Edit Commands is change my Undo, Redo,
| | 02:22 | Cut, Copy, and Paste to match Pro
Tools, because in Pro Tools the Command
| | 02:27 | Focused key commands are very, very handy.
| | 02:29 | So I like to change Command+Z to just Z,
Shift+Command+Z to just Shift+Z, Cut to
| | 02:37 | just X, Copy to C, and Paste to V. Now
obviously you don't have to do this, but
| | 02:43 | if you are comfortable with those key
commands, it actually in my opinion saves
| | 02:47 | quite a bit of time.
| | 02:47 | I'm going to make the window just a
little bigger so we can see more of
| | 02:50 | these actions, and you can see that there
are further submenus within the Edit Commands.
| | 02:56 | So we can take a look at Edit Pitch.
| | 02:59 | If we wanted to, we can assign a
shortcut to Resetting Pitch Center, Modulation
| | 03:03 | or Drift to Original.
| | 03:05 | We can also assign shortcut to Reset
All Pitch Related Changes to Original, and
| | 03:09 | I actually find that this is
something that I use a lot.
| | 03:11 | So I usually do assign sign a key command here.
| | 03:14 | Likewise, you may find that you want
to do the same thing for Edit Formant,
| | 03:17 | Edit Amplitude, and Edit Notes
Separation so that you can reset and quickly get
| | 03:21 | back to the default state without having to
go to the menu every time you want to do this.
| | 03:29 | Under our Tools and Commands, we can
change the key command that allows us to
| | 03:34 | select each tool, and as you work
you'll find what might work best for you.
| | 03:38 | But I'll show you the way that I like
to set this up, because then I can select
| | 03:41 | exactly the tool that I want, while my
mouse is in motion to the location where
| | 03:45 | I'm going to make an edit.
| | 03:46 | So I don't actually have to select my
tool once I get there by clicking or go up
| | 03:50 | to the menu with the mouse, and it just
saves a lot of time in small increments
| | 03:53 | throughout my editing workflow.
| | 03:55 | So the way I like to do this, I like
to set my Select Pitch tool to the Key
| | 03:59 | command 1 which is not the number 1 on the
numeric keypad, but just the number 1 above the Q key.
| | 04:03 | I like to use 2 for my Pitch Modulation
tool, 3 for my Pitch Drift tool, 4 for
| | 04:10 | my Select Formant tool, 5 for my Select
Amplitude tool, 6 for the Time tool, 7
| | 04:19 | for the Time Handle tool, 8 for the
Notes Separation tool and 9 for the
| | 04:25 | Segment Separation tool.
| | 04:27 | So now as I'm working, I can just tap
the number of the related tool as I go,
| | 04:32 | and you can still use the
pop-up menu when you do this.
| | 04:35 | Another thing that's useful to set
is your Transport and Navigation.
| | 04:39 | You may decide that you want to set a
Key command for Fast Forward or Rewind or
| | 04:43 | even a Key command to turn on and off
Cycle so that you don't have to turn it on
| | 04:46 | and off from the Transport bar, and
here I can set shortcuts for my Locators.
| | 04:56 | I can also set shortcuts for Markers,
Creating Markers, and Going to Markers.
| | 05:01 | I can also set shortcuts for Scrolling to,
Scrolling Left, Right, Up or Down and
| | 05:05 | here you can see the defaults 6, 4, 2, and 8.
| | 05:09 | I can set Key commands for zooming.
You can set the defaults 3, 1, 9, and 7.
| | 05:15 | I personally like to set these
to match Pro Tools Command Focus.
| | 05:19 | So I often have Zoom In set to T and
Zoom Out set to R just since I'm used to
| | 05:26 | using those in Pro Tools, and it makes
it really easy for me to transition into
| | 05:29 | Melodyne when the key commands match.
| | 05:31 | So feel free to take a look through
the rest of the preferences and see what
| | 05:34 | else you might want to change.
| | 05:36 | Once you've set all your shortcuts so
that you're happy with them, you might
| | 05:39 | want to export them.
| | 05:40 | So under the Options menu, you can
choose Export to save a copy of your
| | 05:44 | shortcuts, and you can name them
whatever you like, and this way you can one,
| | 05:48 | bring them into other systems, and two,
have a backup just in case something
| | 05:51 | happens and perhaps they get lost or destroyed.
| | 05:53 | So as you can see, setting these
shortcuts can allow you to move around Melodyne
| | 05:56 | with great speed, and it allows you
not to have to use the menus as much, and
| | 06:00 | this can allow you to be very efficient
and put your focus on creativity rather
| | 06:03 | than on using the tools.
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| Looking at preferences in the Other page| 00:00 | Now let's look at the remaining
preferences in the Other Preferences tab.
| | 00:06 | Here you can select your language.
| | 00:07 | So if you wanted to work in French,
you can change that Language setting
| | 00:12 | and restart the application and all of your
menus and displays will show up in French.
| | 00:17 | We'll keep ours in English.
| | 00:19 | You can also set the number of
undo levels available in Melodyne.
| | 00:22 | This can go up to 500 levels, but just
keep in mind that the more levels of undo
| | 00:27 | the more RAM your system requires.
| | 00:28 | Some of the other preferences on the
other page include Monitor Note Pitch on
| | 00:32 | Editing which when selected allows you
to hear the note every time you grab or
| | 00:36 | move it with the Pitch tool.
| | 00:38 | You can also choose to Always use
maximum processing quality by selecting that
| | 00:42 | check box, and you can also
Process Stereo Channels Separately.
| | 00:46 | If you'd prefer to see a separate left
and right for a stereo channel rather
| | 00:49 | than a combined stereo channel,
you can enable this preference.
| | 00:53 | With Consider Original Scale Notes on
Scale Snap unselected, if you change the
| | 00:58 | melody note to a different key, Melodyne
will snap the notes to the nearest pitch
| | 01:02 | despite the original scale
contained by the audio material.
| | 01:06 | But if you do have this preference
enabled, instead Melodyne will listen to the
| | 01:10 | original scale notes associated with
your original material, and that will
| | 01:14 | override the scale notes of your new key.
| | 01:18 | With the Make Group on Trill or Slide
Separation preference enabled, Melodyne
| | 01:22 | will automatically make compound notes from
the separated notes within a trill or slide.
| | 01:27 | This can make trills or slides
a little easier to work with.
| | 01:30 | The next preference allows you to
double-click any file in the Melody Manager
| | 01:33 | and have it open directly in the MDD Editor.
| | 01:36 | We're not covering the Melody Manager
in this course, but feel free to play
| | 01:39 | around with it and check out what it does.
| | 01:41 | The next preference allows Melodyne to
automatically update the MDD files every
| | 01:45 | time we save our arrangement, and
the preference below that allows us to
| | 01:49 | Auto-Update MDDs in the Melody Manager
so that the Melody Manager contains the
| | 01:53 | latest MDDs automatically.
| | 01:55 | Last, Enable Spot to Pro Tools allows
Melodyne to export audio files with a user
| | 02:01 | timestamp that can be read by Pro
Tools to allow sample accurate location of
| | 02:05 | your exported audio back into Pro Tools.
| | 02:08 | Again, these preferences will differ in
Melodyne singletrack, and we'll take a
| | 02:11 | look at those settings in a later chapter.
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|
|
5. Editing Audio with MIDISetting up a MIDI input source| 00:00 | Using MIDI with Melodyne is a very
powerful way to expand the capabilities
| | 00:04 | of the program. In this video,
we'll configure our MIDI devices.
| | 00:08 | In your case it maybe a MIDI
keyboard, a MIDI controller or both.
| | 00:12 | First, make sure that your MIDI
device is connected to your computer.
| | 00:15 | Depending on your device you may be
connecting with a MIDI cable from the MIDI
| | 00:18 | Outport or the MIDI Thru-port on your
device to your computer's MIDI interface.
| | 00:23 | Now depending on which type of MIDI
device you're using, it may connect directly
| | 00:27 | to your computer with USB, and that
device may or may not require that you
| | 00:31 | install specific drivers or software.
| | 00:33 | So make sure you check all
of that before we proceed.
| | 00:35 | If you want some more information on
how to get your MIDI setup working, you can
| | 00:39 | check out some of the other courses
right here on lynda.com, including Pro Tools
| | 00:43 | Essential Training with David Franz,
Logic Pro Essential Training with Scott Hirsch,
| | 00:48 | or Ableton Live Essential
Training with Rick Schmunk.
| | 00:52 | Once you've physically connected your
MIDI interface to your computer and verify
| | 00:55 | that it is working, let's go back to
Melodyne and open our Preferences.
| | 00:59 | In our Preferences let's select the
MIDI Ports page, and in the Default Input
| | 01:04 | pop-up you should select the MIDI input source
that you're intending to use with Melodyne.
| | 01:09 | Now we'll look at how we can
use a MIDI keyboard with Melodyne.
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| Using a MIDI keyboard to play and edit notes| 00:00 | Now that we have our MIDI keyboard
connected, we can use that MIDI keyboard
| | 00:04 | to alter and edit the pitch of our melody
by playing the desired notes on our keyboard.
| | 00:09 | Let's take a look at this.
| | 00:11 | First let's open our Editor window, and
I should note that you can also do this
| | 00:13 | directly from the Arrangement window,
but just for the purposes of being able to
| | 00:16 | follow along visually I want to
show you this in our Editor window.
| | 00:21 | I'm going to select this
section of our melody here.
| | 00:24 | What we can do now is play each
segment of our melody, and each segment is
| | 00:27 | indicated by the note separation lines that
we've made, or that Melodyne has automatically made.
| | 00:32 | So every time we play a note on our
MIDI keyboard, we'll be affecting the next
| | 00:36 | segment in the line, and we can also
move from one to the next or move backwards
| | 00:41 | from one to the previous by using the
Left and Right Arrow keys on our keyboard.
| | 00:45 | (music playing)
| | 00:48 | Now first let's go up to our MIDI menu, and you
can see that there are several MIDI options here.
| | 00:53 | The first option is No MIDI In to Tracks, and with
this selected the MIDI keyboard will have no effect.
| | 00:58 | Now if we choose MIDI In Plays Notes,
we're essentially setting Melodyne
| | 01:03 | to perform the melody that we play on the
keyboard using the audio from our performance.
| | 01:09 | Essentially, what this does is Melodyne
treats each section as a sample that you
| | 01:14 | can playback in real time
using your MIDI keyboard.
| | 01:17 | So let's take a look by
pressing any key on the MIDI keyboard.
| | 01:21 | We will trigger the next note at
the pitch of the MIDI key we press.
| | 01:24 | (music playing)
| | 01:28 | So you can see that just by
walking downwards we're playing
| | 01:31 | those notes as we press the key.
| | 01:33 | Now if I wanted to backup, I can just
press the arrow key to go back to where we
| | 01:37 | started, and I can attempt
to play my own melody on this.
| | 01:41 | (music playing)
| | 01:46 | But you'll notice that this is stepping through
in real time from one note to the next.
| | 01:50 | So when you're not actually playing
back and using this feature, it's more just
| | 01:54 | about an auditioning stage.
| | 01:56 | If you actually wanted to use this
in real time, we can actually play our
| | 01:59 | arrangement and play the MIDI
keyboard as the arrangement is playing.
| | 02:03 | So let's take a look at that.
| | 02:06 | (music playing)
| | 02:16 | So what we just heard is that
Melodyne will play each word or
| | 02:20 | syllable through the note that I played on the
MIDI keyboard as we play back our arrangement.
| | 02:25 | Now when I let my finger off of the
keyboard it will default back to the
| | 02:29 | original melody or whatever is set in Melodyne.
| | 02:32 | So let's take a look at
that real quick one more time.
| | 02:34 | I'm going to play a melody on the first
phrase, and then remove my hand from the
| | 02:38 | keyboard in the second phrase so that
we can hear what's already in Melodyne.
| | 02:41 | (music playing)
| | 02:48 | So you can hear that I was
stepping down the keyboard during the
| | 02:51 | first phrase--essentially butchering
the performance--and then I let the second
| | 02:55 | phrase play without me touching it at all.
| | 02:57 | Now under the MIDI menu the second
option is MIDI In Edits Notes, and this is a
| | 03:02 | really handy and powerful way to
actually edit the audio and change the pitch in
| | 03:07 | your Arrangement or Editor window without actually
having to move the notes with the Edit Pitch tool.
| | 03:12 | So if we're not playing back, it's going to
act just like it did during the Plays Notes.
| | 03:17 | But it's actually going to
visibly change the pitch.
| | 03:20 | So anytime I press a key.
(music playing)
| | 03:26 | We can see that Melodyne shifts the pitch
to the note that I played on the keyboard.
| | 03:31 | So I'm going to undo that real quick,
and we'll do the same thing but in real
| | 03:37 | time while playing back so we can
essentially play our new melody and record it
| | 03:42 | and have it affect our audio once we're done.
| | 03:45 | (music playing)
| | 03:56 | This isn't the best musical
example obviously, but you can at
| | 03:59 | least see how it functions.
| | 04:01 | Under the MIDI menu the next option is
MIDI In Transposes Globally from C3=0.
| | 04:06 | When we've MIDI In Transposes Globally
from C3=0 selected, C3 equals our current key.
| | 04:13 | So if we were to play C#3, that note
would now become our new key, and it would
| | 04:18 | transpose globally our
entire arrangement to the new key.
| | 04:22 | Likewise, MIDI In Transposes Track will select
and operate on our track, using the same technique.
| | 04:28 | Under MIDI Portamento Time, we can
choose Fast, Medium, or Slow so that using
| | 04:33 | Portamento on our keyboard will alter
the pitch in real time making a transition
| | 04:38 | from one note to the next
either Fast, Medium, or Slow.
| | 04:42 | One thing I want to point out, though, is
that this is just for a performance, as
| | 04:45 | this does not actually
record or affect our audio.
| | 04:49 | So if we were to play and change our notes--
and I'm going to put us back in Plays Notes
| | 04:54 | so we're not actually editing--
| | 04:56 | if I play a melody in real time and
alter the Portamento, we can hear the effect.
| | 05:00 | (music playing)
| | 05:05 | Now what we're actually
hearing is the MIDI change that I did
| | 05:08 | with Transpose Globally from C3=0.
| | 05:11 | So I've actually transposed the entire pitch up.
It sounds like an octave or more.
| | 05:14 | So I'm going to undo that before we go on.
(music playing)
| | 05:19 | Okay, so now we're back to my
badly edited MIDI version.
| | 05:23 | Let's try this again with a
new performance in Portamento.
| | 05:26 | (music playing)
| | 05:41 | So essentially we have at this
point a medium transition between
| | 05:45 | the notes when I change
notes on the MIDI keyboard.
| | 05:47 | We can make the slower to
make it more noticeable.
| | 05:51 | (music playing)
| | 05:58 | So now you can hear it's starting to slide
between the notes a little more slowly.
| | 06:02 | Again, this is just a performance change,
not something that affects the audio
| | 06:05 | that we have recorded.
| | 06:07 | The last few options under the MIDI menu
allow us to open our Show Audio-to-MIDI
| | 06:11 | Parameters, in which case we can show
the Velocity, Pitch Bend, and Envelope and
| | 06:16 | edit those things right in our window.
| | 06:18 | We can also open our MIDI Ports
Preferences or our Remote Control Preferences
| | 06:28 | right from the menu without having
to first go into the Preferences and
| | 06:31 | select the related tab.
| | 06:34 | One last really cool thing about using
MIDI to control our audio is that we can
| | 06:38 | choose to have separate MIDI
channels control separate tracks.
| | 06:41 | As you can see, right now we have All
MIDI Channels to Selected Tracks enabled,
| | 06:45 | which means that whenever I send a MIDI
signal on any channel, it's only going
| | 06:49 | to alter the selected track.
| | 06:51 | However, if we change the selection to
MIDI Channels to Track Numbers, we now have
| | 06:56 | separate channels
controlling separate track numbers.
| | 06:59 | In other words, MIDI Channel 1 will
only alter the audio on track 1 and MIDI
| | 07:04 | channel 2 will only alter the audio on track 2.
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| Exploring the MIDI Out options| 00:00 | In addition to using a MIDI
keyboard to control our audio,
| | 00:03 | Melodyne can also be used to trigger another
external or internal sound source using MIDI.
| | 00:09 | So let's open up our Editor window
with Shift+Command+E or Shift+Ctrl+E and
| | 00:13 | select our Lead Vocal Channel.
| | 00:16 | And then under the View menu let's
select Show Audio-to-MIDI Parameters.
| | 00:21 | Once we have selected this, we can
now see our audio to MIDI Parameters.
| | 00:25 | If we want to send MIDI out in real-time
as we play Melodyne, we can select the
| | 00:29 | Realtime Midi Send box.
| | 00:31 | And from the dropdown menu we can choose
either an external MIDI sound source or
| | 00:36 | an internal instrument if we have set one up in
Melodyne, which we'll look at later in this video.
| | 00:41 | And to the right here is a Textbox where
we can select the Channel on which that
| | 00:45 | MIDI Data will be sent.
| | 00:46 | We also have a lot of control
over how that MIDI Data will be sent.
| | 00:50 | We can change the Velocity of our MIDI
Data simply by clicking and dragging.
| | 00:54 | We can also click and drag the top to
limit out Loudest Velocity and click and
| | 00:59 | drag the bottom to limit our softer
velocity so that our MIDI Data will only
| | 01:04 | fall within those parameters.
We can also send Pitch Bend changes.
| | 01:08 | To enable this just check the Pitch Bend
box. The Textbox beneath the Pitch Bend
| | 01:13 | shows the number of semitones
the Pitch Bend will affect.
| | 01:15 | So you should make sure and set this so
that it has the same number of semitones
| | 01:19 | as the Pitch Bend in the
instrument that you'll be controlling.
| | 01:23 | You'll also notice a little pop-up menu
with several different algorithms that
| | 01:27 | you can use with Pitch Bend.
| | 01:28 | So depending on the synth or the sound
that you're triggering with Melodyne, you
| | 01:32 | will want to play around with
these and find the right algorithm.
| | 01:35 | We can also enable the Envelope of
our attack to send MIDI Control data.
| | 01:39 | So, for example, we can also Send MIDI
Volume with Controller 7 or various other
| | 01:43 | control change data.
| | 01:45 | With the dial beneath the Envelope check
box, we can tell Melodyne when it's set
| | 01:49 | all way to the left to send signals
that are going to mirror the audio in
| | 01:53 | Melodyne or when it's set to the
right to follow the Synths attack.
| | 01:58 | And just a like our Velocity, we can
click and drag to change our Envelope,
| | 02:01 | and we can set a threshold for the top and
bottom levels by clicking and dragging upward.
| | 02:06 | If we want to send our MIDI Data to
an internal software instrument--let's go
| | 02:11 | to our Mixer and set one up.
| | 02:12 | Let's open our Mixer with Shift+Command+M
or Shift+Ctrl+M. On the right-hand
| | 02:17 | side of our Mixer from the Configure
dropdown menu, we can choose Instrument
| | 02:21 | Tracks and Add Instrument Track.
| | 02:24 | We have now created an Instrument Track
that we can add an Instrument Plug-in to.
| | 02:27 | So if you've an Instrument Plug-in
that you want to trigger in Melodyne all
| | 02:30 | you've to do is select the
proper plug-in from your Plug-in menu.
| | 02:34 | Once you've assigned an Instrument in
Melodyne you'll be able to choose it from
| | 02:38 | the pop-up list so that Midi data
will be sent to that instrument.
| | 02:42 | One last very useful way that we can use
MIDI with Melodyne is by Exporting MIDI
| | 02:46 | so that we can pull it back into
our External DAW to control a synth.
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|
|
6. Melodyne's MixerUsing the mixer| 00:00 | As you get into working with larger
sessions, you'll find that getting a good
| | 00:03 | mix will become very important.
| | 00:05 | Not only will you need to be able to
hear everything in the right place, but you
| | 00:08 | may also need to be able to mute certain
tracks that you're not working with, or
| | 00:12 | maybe even create groups to make
your mixing process a little bit easier.
| | 00:15 | So let's open the Mixer with Shift+Command+M
or Shift+Ctrl+M, and here we can see
| | 00:19 | the 8 tracks that we've previously imported.
| | 00:21 | We already did a brief tour of the Mixer,
but let's go over a few things again.
| | 00:25 | So from top to bottom, we have our EQ section.
| | 00:28 | You can choose the different types of EQ,
control the different elements of the
| | 00:32 | Gain, the Q and the Frequency.
We can insert plug-ins.
| | 00:36 | We can use Auxs to send to Reverbs or
Delays or external processing, and we
| | 00:41 | can choose our output and input, which in this
case is inactive because of our hardware setup.
| | 00:46 | Below the Output, you'll see a
little single or double circle, which
| | 00:50 | indicates whether the track is a
mono or stereo track, and you can change
| | 00:53 | this on a new track.
| | 00:55 | What this really affects, though, is
which type of plug-in you'll be able to
| | 00:58 | insert on that channel in the Mixer.
| | 01:00 | Below that we have our Panning, which only
shows up when we have a stereo output selected.
| | 01:04 | We have our Fader Level or our Track
Gain, and we have Solo, Mute, and Record.
| | 01:09 | We can also rename tracks
right here in the Mixer.
| | 01:12 | As you can see, we've already dropped
the level of our instrumental so that we
| | 01:15 | could hear our vocals in balance
with that instrumental without having to
| | 01:19 | change the level of our vocal.
| | 01:20 | And a reminder, the reason that we
did that is because when we export audio
| | 01:24 | files, they will reflect the volume
level, EQ, and insert effects when
| | 01:28 | exporting individual files.
| | 01:30 | So just be careful when you do make
changes to your mix in Melodyne, you may
| | 01:34 | want to remove or reset that before
exporting, if you're mixing in another DAW.
| | 01:39 | That said, you can use Melodyne's
Mixer to alter your audio by applying these
| | 01:43 | effects so that you don't
have to use an external DAW.
| | 01:46 | With the Mixer, we can also
configure a few more advanced options.
| | 01:51 | Under the Configure menu you can
choose to Hide EQs if you're not using them.
| | 01:54 | You can also choose to Hide Inserts if
you're not using plug-ins, and to Hide Aux
| | 02:00 | Sends, if you're not going to be using those.
| | 02:02 | Here you can also create a Group Track,
and the way you use Group Tracks in
| | 02:07 | Melodyne is by first creating the
Group Track and then assigning the proper
| | 02:10 | output on all of the tracks that
you want to go through that group.
| | 02:13 | For example, if we wanted all of our
Background Vocals to go through Group1--
| | 02:18 | which in this case let's name BG Vocals--
| | 02:21 | we would assign the output of all of
our Background Vocal tracks to BG Vox or
| | 02:27 | BG Vocals, and now what we can do
is affect what we hear on all of the
| | 02:34 | backgrounds through the Mixer by
simply changing one Fader level or Muting one
| | 02:38 | channel, and this is really handy
because it allows you to get the balance you
| | 02:43 | want between multiple tracks if you
are going to use the Mixer for that and
| | 02:46 | then make overall
adjustments with just one channel.
| | 02:49 | So let's really quickly listen to something
so we can hear it through the Mixer.
| | 02:52 | So I'm going to switch back to my
Arrangement window, I am going to locate
| | 02:57 | our background section here, and again
we haven't tuned any of this yet,
| | 03:00 | but let's have a listen.
| | 03:03 | (music playing)
| | 03:08 | So you can hear...
(music playing)
| | 03:14 | ...that using my Group fader or Mute...
(music playing)
| | 03:21 | ...I can affect the mix of all of
the background vocals that are
| | 03:24 | going through that background vocal group.
| | 03:26 | Likewise, if we wanted to insert a
Reverb or an Aux Send, we just select the Aux
| | 03:31 | and choose our effect.
| | 03:34 | We can use the built-in Reverb that
comes with Melodyne if we want, and our
| | 03:38 | first Aux is automatically added.
| | 03:41 | Now you'll notice that
below that a second Aux pops up.
| | 03:43 | So if you wanted to add another Aux you can.
| | 03:45 | You'll also notice that a second
Aux is also added on the Mixer.
| | 03:49 | So let's say we wanted to add some
Reverb to our Lead Vocal, we can just
| | 03:52 | select our Aux, set a level, and we
can do the same for our Background Vocal
| | 03:57 | group if we want as well, and un-
checking the button next to the Aux is
| | 04:01 | essentially muting the Aux.
| | 04:03 | So we can listen to this
with a little reverb if we want.
| | 04:06 | (music playing)
| | 04:14 | So if we uncheck this box, we
won't hear the reverb anymore.
| | 04:18 | (music playing)
| | 04:21 | We can also add an instrument
track if we want to use Melodyne's
| | 04:23 | melody to control an instrument, and we
can do that here from the Configure menu
| | 04:28 | by choosing Instrument Tracks and
Add Instrument Track, and then from the
| | 04:33 | Plug-in window we would choose the
instrument that we want to assign.
| | 04:36 | For additional information about the
master section options in the Mixer, you
| | 04:39 | can refer back to the video in
Chapter 2 called Exploring the Mixer window.
| | Collapse this transcript |
| Using plug-ins and auxes| 00:00 | If you want to export a stereo mix of
your final product, or if you want to
| | 00:04 | further polish the sound of your mix,
you may want to make use of plug-ins
| | 00:08 | to shape your sound.
| | 00:09 | We took a look at activating plug-ins in
Melodyne in an earlier video, but let's
| | 00:13 | take a look at it again in case
you are just starting to watch now.
| | 00:15 | Under the Melodyne menu we can
choose the Preferences, and we can select
| | 00:20 | Plug-ins and here we can enable
AudioUnits Effects or VST Effects.
| | 00:25 | This will allow you to use any of
your external AudioUnits or VST Plug-ins
| | 00:29 | within the Melodyne Mixer.
| | 00:31 | Once you have enabled the plug-ins that
you want to use and close this window,
| | 00:35 | and now we can assign those
plug-ins to any channel in Melodyne.
| | 00:38 | If you wanted to use a specific
Compression plug-in on your lead vocal,
| | 00:41 | for example, you can select the Insert and
choose the plug-in that you want to insert.
| | 00:48 | And just like any other Mixer you'll be
able to use that plug-in within your mix.
| | 00:52 | Likewise, you can insert instruments
just as you would a plug-in by selecting an
| | 00:57 | Instrument from the Plug-in list.
| | 00:58 | While Melodyne's Mixer may not be
quite as complete as the Mixer you normally
| | 01:02 | use in your DAW, Melodyne Mixer does
give you most of the tools you need so that
| | 01:06 | you can get a really good working mix.
| | Collapse this transcript |
| Using a MIDI controller| 00:00 | With our MIDI Control Surface
connected we can more quickly alter our
| | 00:03 | working mix without having to use the mouse
to click and move Faders in the Mixer window.
| | 00:08 | We have covered our MIDI Preferences and connecting
our MIDI Control Surface in previous movies.
| | 00:12 | Once you have your MIDI Control
Surface connected, you can use the faders and
| | 00:16 | the pan to control your Mixer so that
you don't have to move your mouse at all
| | 00:20 | to get your faders moving and
to control your mix in real-time.
| | 00:24 | You can certainly work very efficiently
without using MIDI, but the extended
| | 00:27 | capabilities that MIDI offers can
put your mix right at your fingertips.
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|
|
7. Melodyne ConfigurationsTransitioning to Melodyne Editor (aka singletrack)| 00:00 | In this video, we're going to delve into
Melodyne Editor, also known as Melodyne
| | 00:04 | singletrack, and explore the
unique features of this program.
| | 00:07 | If you have it installed, you'll find
Melodyne singletrack in your Applications
| | 00:11 | folder, and this is a separate
application from Melodyne Studio.
| | 00:14 | We can open it up, and feel free to
look through the tutorial if you want, and
| | 00:19 | we'll see a fairly familiar window.
| | 00:21 | The first one we'll see in Melodyne
Editor is essentially our Editor window
| | 00:25 | from Melodyne Studio.
| | 00:26 | So there are some
differences between the versions.
| | 00:28 | Just like Melodyne Studio allows you
to edit multiple tracks, Melodyne Editor
| | 00:33 | gives you a really unique new
feature called DNA, or Direct Note Access.
| | 00:37 | We're going to look at this in the next
video, but before we do, I just want to
| | 00:40 | point out a few things that are not
available in Editor just so we can get
| | 00:43 | familiar with our limitations here.
| | 00:45 | Like we already mentioned, you can only
edit one track at a time with Melodyne Editor.
| | 00:49 | Also our preferences are different, so
let's take a quick look at our Preferences.
| | 00:53 | Here you have your basic settings
like your Language and the Pitch Center.
| | 00:56 | You can also set Melodyne to
Check for Updates automatically.
| | 01:00 | Your Audio Cache Size and location are
also on this Settings page, and on your
| | 01:06 | Audio tab, you can choose your Audio
Device, set your Sample Rate, your Buffer
| | 01:10 | Size and your Output.
| | 01:12 | You can also select your Input and your
bit depth as well as your Recording Folder.
| | 01:16 | However, you'll notice the preferences
are much more simple than in Melodyne
| | 01:19 | Studio, and many of the options that
we've already looked at are not here.
| | 01:22 | I wanted to specifically point out that the
shortcuts do not exist in this application.
| | 01:27 | In the next video, we'll take a look at Melodyne's
revolutionary Direct Note Access or DNA.
| | Collapse this transcript |
| Exploring how to use Direct Note Access (DNA)| 00:00 | Possibly one of the most groundbreaking
accomplishments in the sound world from
| | 00:03 | the past decade is
Melodyne's Direct Note Access.
| | 00:07 | DNA allows for the alteration of
a single monophonic pitch within a
| | 00:10 | polyphonic audio recording.
So let's take a look at this.
| | 00:14 | First let's open a file
that has polyphonic material.
| | 00:16 | You can choose File > Open or use the
key command, Command+O, and let's look at
| | 00:22 | our Instrumental Elements folder within
the exercise files folder, and for this
| | 00:26 | example let's choose Say
Yes_V1 Acoustic Guitar 2.
| | 00:32 | And you can see that as we open the
file Melodyne detects the pitch within the
| | 00:35 | file, and when it's done in Melodyne
Editor you can see the various pitches of
| | 00:40 | each of the individual notes with
the guitar played in that performance.
| | 00:44 | So let's quickly have a
listen to what this sounds like.
| | 00:47 | (music playing)
| | 00:53 | Okay, cool! So we can hear the guitar chord being
played, but we can see its individual notes on screen.
| | 00:59 | With DNA we can use the familiar tools
from Melodyne Studio to change individual
| | 01:04 | notes within that guitar chord.
So this is a really, really handy tool.
| | 01:08 | If perhaps you have a really great
guitar performance, maybe you accidentally
| | 01:12 | played one chord as a minor chord, and
you meant to play it as a major chord,
| | 01:15 | you can use Melodyne editor or Melodyne
singletrack, as it's also known, to go
| | 01:19 | in and change that one note to save
an otherwise unusable performance.
| | 01:24 | So let's take a look at how this can work.
| | 01:26 | Select our Edit Pitch tool, and we
can simply grab and move any note.
| | 01:31 | (music playing)
| | 01:35 | And we can hear the effect of that.
(music playing)
| | 01:40 | So perhaps we want our baseline to move
back up at the end of next chord.
| | 01:45 | (music playing)
| | 01:49 | So you can see just how amazing
this technology is the ability
| | 01:52 | to change notes in already recorded material.
| | 01:55 | Let's do one more edit just to see
this a little bit more in action.
| | 01:58 | In the next phrase...
(music playing)
| | 02:03 | Maybe we want to change
the sound of our harmony.
| | 02:05 | So we can select the
notes that we want to change.
| | 02:07 | (music playing)
And simply change them.
| | 02:11 | (music playing)
| | 02:14 | Or we can undo that and change different notes.
| | 02:21 | (music playing)
| | 02:24 | So you can see that by making
these simple changes to one note
| | 02:27 | within the chord we're essentially changing the chord as
if someone had performed a different chord to begin with.
| | 02:33 | Another way that we can make this change--
if, for example, we wanted to change
| | 02:36 | this throughout the song so that every
time that C# played it instead played a
| | 02:40 | D#--we could select the C# button on
the left side of the editor window and
| | 02:46 | every single C# in our arrangement is selected.
| | 02:48 | And you can use this in
every version of Melodyne.
| | 02:51 | And then we can simply drag all of
those C# up to D#, and every time we hear
| | 02:58 | them, it's now going to play the D#.
(music playing)
| | 03:03 | So let's close this editor
window, we don't need to save.
| | 03:07 | I am going to say Discard, and
I am going to open a new file.
| | 03:12 | This time select this Say Yes_Intro
Piano file, and again Melodyne will detect
| | 03:18 | the pitch and then display the
notes that are in that performance.
| | 03:22 | So let's have a listen here.
(music playing)
| | 03:30 | So we can hear multiple notes
are being played at the same time,
| | 03:33 | but as I zoom out it appears that not
all of those notes are being displayed.
| | 03:38 | So in this case it appears that
Melodyne is not detecting the individual notes
| | 03:41 | of the triad as separate notes.
| | 03:43 | So this is just one example that you
have to be careful with if you are going to
| | 03:47 | try and change certain things, because
sometimes if certain notes sound like
| | 03:50 | overtones, they may not be
detected as separate notes.
| | 03:53 | Depending on the type of musical material,
you may want to use a different Algorithm.
| | 03:57 | And in any version of Melodyne you
can change this Algorithm by selecting
| | 04:01 | Melodic, Percussive, Polyphonic, or
in Melodyne Studio you can use your
| | 04:05 | own custom Algorithms.
| | 04:07 | In this case let's select Polyphonic since
this Piano is obviously a polyphonic part.
| | 04:11 | And Melodyne will redetect
the audio looking for chords.
| | 04:16 | Again, we can see that now it has detected
separate notes where there should be separate notes.
| | 04:20 | So let's listen again.
(music playing)
| | 04:28 | But is still sounds like
that one triad right here...
| | 04:32 | (music playing)
...is being detected as a single note.
| | 04:37 | And in this case it's understandable,
because the overtones of a piano sound
| | 04:41 | very much like the third and the fifth which are
being played along with that tonic in this triad.
| | 04:46 | One thing you should be very careful of
when you're using Melodyne Editor with
| | 04:50 | DNA is that when you make a change you
can also affect the overtones and the
| | 04:54 | tail of a note in a way that becomes obvious.
| | 04:57 | So let's play around with that
and see if we can find an example.
| | 05:00 | Now listen real quick.
(music playing)
| | 05:04 | Okay, so right off the bat, if
we were to take this first note
| | 05:09 | and change the pitch, we are probably
going to notice that where that pitch
| | 05:14 | hangs over the next piano note in
the base we are going to hear a change.
| | 05:18 | Let's see if that's the case.
(music playing)
| | 05:23 | So in that case it worked pretty well.
| | 05:25 | Let's keep moving, and we'll see if we can
find another one that is more noticeable.
| | 05:28 | (music playing)
| | 05:42 | Now move this note up or down.
| | 05:45 | (music playing)
| | 05:52 | Okay, so there we hear something
that's a little more noticeable.
| | 05:56 | I am going to put this note back
just so we can hear one edit at a time.
| | 06:00 | (music playing)
| | 06:05 | And it appears that part of our
base note is contained in this
| | 06:08 | note blob with our top note.
| | 06:10 | So it's things like this that you
have to be careful of when you're using
| | 06:12 | Melodyne editor with DNA.
| | 06:14 | Here is another example of changing a
note in a way that might be a little bit
| | 06:17 | too noticeable and maybe an edit
that we would not want to make with DNA.
| | 06:21 | (music playing)
| | 06:23 | By changing this note, we are
going to hear that the note shifts
| | 06:26 | audibly in the middle of the sustain.
(music playing)
| | 06:33 | So making edits like that you
just have to be careful to use
| | 06:36 | your ear and make edits
that sound natural and musical.
| | 06:39 | It's also important just like in Melodyne Studio,
we have nondestructive editing at our fingertips.
| | 06:45 | However, unlike Melodyne Studio we
have to be careful that we don't save our
| | 06:48 | file directly to the audio file.
| | 06:51 | In Melodyne Editor, if you're
editing an audio file, and you don't have a
| | 06:54 | copy of the original, you can
accidentally save your changes directly to the
| | 06:58 | audio file, in which case the audio
file will contain all of your edits
| | 07:02 | instead of an MDD file.
| | 07:03 | So to prevent this, what we want to do is
under the File menu you can choose Save
| | 07:08 | As and choose a Melodyne Project Document.
| | 07:13 | In that way when you save the file,
you can come back and edit it again later
| | 07:17 | without having affected the original document.
| | 07:20 | To export from Melodyne Editor, we
can simply choose the file type that we
| | 07:24 | want to save as and save as directly to that
audio file type, making a copy with our changes.
| | 07:31 | Melodyne was a great leap forward for
vocal correction and audio manipulation in
| | 07:34 | general, and DNA has really opened
a whole new world of possibilities.
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| Setting up Melodyne Bridge| 00:00 | Melodyne can be used in combination
with your DAW of choice by using the
| | 00:04 | Melodyne Bridge plug-in.
| | 00:05 | This plug-in acts as a virtual send
that will pipe your audio from a specific
| | 00:09 | channel in your DAW to be recorded
into a specific track in Melodyne.
| | 00:14 | In this example, we're going to use ProTools.
| | 00:16 | You can see that I have three tracks here, a
click, a stereo instrumental, and a lead vocal.
| | 00:21 | In this example, we're going to put
Melodyne Bridge on the lead vocal track.
| | 00:25 | So let's switch to the mixer and add
an Insert, go to plug-ins > Other and
| | 00:31 | choose MelodyneBridge, and when we
choose MelodyneBridge, Melodyne will be
| | 00:35 | launched automatically.
| | 00:37 | When Melodyne launches, we have an
unsaved untitled arrangement. I'm going to
| | 00:41 | switch back to ProTools, and I can
select the Transfer button in the Melodyne
| | 00:45 | Bridge plug-in, and I can also choose
the track in Melodyne to which I'm going
| | 00:49 | to send the audio from ProTools.
| | 00:51 | You can also see up here is the name of
the session to which I'm sending the audio.
| | 00:56 | So I'm going to send my audio to Track 1,
I'm going press Transfer, I'm going to
| | 01:01 | switch back to the Edit window, I'm
going to set the cursor right before the
| | 01:04 | audio starts, and I'm going to press Play.
| | 01:07 | (music playing)
| | 01:22 | When you stop playback, you'll
see the Melodyne Bridge plug-in
| | 01:25 | automatically switch from Transfer mode
to Playback mode, and what this means is
| | 01:30 | that the audio that you transferred
into Melodyne will now playback on your
| | 01:33 | track in ProTools instead of
the audio file that's in ProTools.
| | 01:37 | So let's switch over to Melodyne and so
now we're back in Melodyne, and we can
| | 01:42 | see the waveform that we just
transferred from ProTools into Melodyne, and from
| | 01:47 | here we can click Play.
(music playing)
| | 01:52 | And we can edit our audio
in Melodyne as normal.
| | 01:56 | So really quickly let's just do a quick
and dirty pitch correction on this just
| | 02:02 | so we can hear that it's
different than the audio in ProTools.
| | 02:05 | (music playing)
| | 02:11 | And then let's go back to
ProTools, and we should hear these
| | 02:14 | changes in place of the audio that's in
ProTools, and we can close our Melodyne
| | 02:19 | Bridge plug-in window once
we're finished with transferring.
| | 02:22 | So I'm going to mute my
instrumental track, and let's have a listen.
| | 02:26 | (music playing)
| | 02:29 | So now right in ProTools, we can hear
the changes that we made in Melodyne.
| | 02:34 | One thing that I want to point out in
Melodyne is that you want to set the
| | 02:38 | location or Melodyne will record your
scratch audio, and you can do this in the
| | 02:42 | Preferences by selecting the Recording
tab and choosing a new folder under this
| | 02:46 | section where it says Audio
Folder for unsaved Arrangements.
| | 02:50 | In fact, the best practice would be
to save your session right off the bat
| | 02:53 | before transferring audio into Melodyne.
| | 02:56 | But if you've already done it as in
this case, you can change that folder here
| | 03:00 | so that audio for new sessions
will be saved in the correct location.
| | 03:04 | You may want to actually set that
location to live inside the same project
| | 03:08 | folder where your ProTools file lives
as well, so you're keeping all of your
| | 03:11 | materials in the same location.
| | 03:13 | One last thing I'd like to mention
is that if you're using Melodyne with
| | 03:16 | multiple tracks in conjunction with a
ProTools session through Melodyne Bridge,
| | 03:20 | you might need to make ProTools CPU
allocation a little bit lower just to allow
| | 03:24 | enough CPU to be allocated to Melodyne,
and you can do this in ProTools by
| | 03:29 | going to the Setup window, choosing
Playback Engine, and setting your CPU Usage
| | 03:35 | Limit to perhaps a lower level, but with just
one audio track in Melodyne, 85% will be fine.
| | 03:43 | Many people prefer to use Melodyne
Bridge when they want to use Melodyne in
| | 03:47 | conjunction with a DAW.
| | 03:49 | This approach is especially useful if
you do not have Melodyne studio and can
| | 03:52 | only edit one track at a time.
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| Setting up ReWire| 00:00 | In addition to the Melodyne Bridge,
Melodyne can also be used in conjunction
| | 00:04 | with a DAW through the use of ReWire.
| | 00:06 | Let's look at setting up
the DAW as the ReWire host.
| | 00:09 | In this example we'll use Pro Tools,
but go ahead and launch whichever DAW
| | 00:12 | you're going to be using, and
then switch to your Mixer window.
| | 00:15 | Let's find our Lead Vocal Track, and
we're going to insert a plug-in, in Pro
| | 00:22 | Tools it's under the Instrument
submenu, and we'll choose Melodyne.
| | 00:25 | We'll see that the ReWire plug-in pops
open, and then Melodyne launches, and
| | 00:29 | we're given an option to choose how we
would like to connect Melodyne to the
| | 00:32 | running host application.
| | 00:34 | In this case, Pro Tools is
our running host application.
| | 00:37 | So let's select ReWire, Melodyne will
continue launching. Once Melodyne has been
| | 00:42 | opened, we can either create a new
session or open our existing session.
| | 00:45 | I'm going to go ahead and open our
Recent Melodyne Studio_Exercise file, and
| | 00:50 | we can mute this instrumental track because
we'll be working in conjunction with Pro Tools.
| | 00:54 | So we'll be hearing our
instrumental through Pro Tools.
| | 00:56 | I'm going to tab back to Pro Tools, and
then in the ReWire plug-in, I'm going to
| | 01:01 | choose Channel 1 for my vocal.
| | 01:04 | Now I can close the Melodyne ReWire
plug-in, switch back to my Edit window in Pro
| | 01:08 | Tools, and I'm going to go
ahead and play my arrangement...
| | 01:11 | (music playing)
| | 01:18 | And if I tab over to Melodyne,
I can see that the playback is
| | 01:21 | happening in Melodyne as well as in Pro Tools.
| | 01:24 | Likewise, I can control playback from
Melodyne by pressing Play in Melodyne...
| | 01:30 | (music playing)
And I will see the Pro Tools is playing.
| | 01:34 | (music playing)
| | 01:35 | If I mute my instrumental, we
just hear our vocal from Melodyne.
| | 01:41 | So you can see how Melodyne and Pro
Tools are playing in conjunction with
| | 01:44 | each other using ReWire.
| | 01:46 | Let's go back to Melodyne, and
let's open our Transport bar using
| | 01:49 | Shift+Command+T or Shift+Ctrl+T,
and the way that this is enabled is by
| | 01:53 | selecting Link Transport to ReWire
Host from the Sync dropdown menu.
| | 01:57 | With this option enabled, we can
control transport from either Melodyne or from
| | 02:01 | our DAW, like we just did.
| | 02:03 | I'm going to switch back to
Pro Tools and press Play...
| | 02:06 | (music playing)
Tab back to Melodyne.
| | 02:10 | (music playing)
| | 02:13 | Mute the vocal in Melodyne,
tab back to Pro Tools.
| | 02:16 | (music playing)
And unmute my instrumental track.
| | 02:22 | So you can see how the two are playing
in conjunction with each other, and I can
| | 02:26 | control my playback from either application.
| | 02:29 | Using ReWire just like using Melodyne
Bridge, we can connect multiple channels
| | 02:33 | from Melodyne in the DAW.
| | 02:35 | So if we switch back to our Mixer
window, I'm going to create perhaps six
| | 02:38 | more mono audio tracks to correspond with
the six background vocal tracks that we have.
| | 02:43 | We could add Melodyne
Bridge to each of these plug-ins.
| | 02:46 | So quick key command in Pro Tools, we
hold Shift+Option, we'll assign it to all
| | 02:50 | the selected tracks, which are
the six that we just instantiated.
| | 02:53 | I'll choose Melodyne, again it pops up
Melodyne, switch back to our DAW, and
| | 02:59 | let's change the output on each of
these to correspond with the new channel so
| | 03:05 | that they're all on unique channels.
| | 03:17 | And now let's play our arrangement again.
| | 03:20 | (music playing)
| | 03:23 | This time let's view this Full
Song and locate to a section with
| | 03:28 | the background vocals, somewhere
around bar 21. I'm going to tab back to Pro
| | 03:32 | Tools, locate to around bar 21 where the
background vocals are going to come in.
| | 03:39 | And now we should be able to hear the
background vocals playing with Pro Tools.
| | 03:42 | And I mute the instrumental
just so we can hear the vocals.
| | 03:44 | (music playing)
| | 03:50 | One thing to note, when
you're using your DAW as the ReWire
| | 03:53 | host, you can quit the DAW before you
quit Melodyne, and often when you relaunch
| | 03:58 | the DAW it will automatically re-sync.
| | 04:01 | Also, in Melodyne, in our Preferences,
there are several specific ReWire
| | 04:06 | preferences that are only visible
when we're actually using ReWire.
| | 04:10 | So now let's look at using
Melodyne as the ReWire host.
| | 04:12 | Let me close the Preferences on our Transport, I'm
going to go back to Pro Tools and close and quit.
| | 04:18 | In order to use Melodyne as the ReWire
host, we want to select the Window menu
| | 04:23 | and choose ReWire Devices.
| | 04:25 | From here we can select the
application that we want to use as the ReWire
| | 04:29 | client and here we can also set the channels
that will pipe between the two applications.
| | 04:33 | One thing to note is that when you're
using Melodyne as the ReWire host, you
| | 04:36 | should always quit the client
application before quitting Melodyne.
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| Using the Melodyne plug-in| 00:00 | One way to quickly use Melodyne within
your DAW is through the Melodyne plug-in.
| | 00:04 | Let's switch to our Mixer window in Pro Tools--
or in whichever DAW you're using--
| | 00:08 | find the track that you want to edit
with Melodyne, and under the Plug-ins menu
| | 00:12 | let's insert the Melodyne Plug-in.
| | 00:14 | In Pro Tools it's under
plug-in > Other and Melodyne.
| | 00:20 | What this does is it opens essentially a Melodyne
Editor window as a plug-in right inside Pro Tools.
| | 00:28 | In order to transfer audio in to our
Melodyne plug-in, it works much like
| | 00:32 | Melodyne Bridge does, you select the Transfer
button relocate our cursor, and press Play.
| | 00:40 | (music playing)
| | 00:49 | Then we go back into our
Melodyne plug-in, we can see that just
| | 00:53 | the amount that we transferred
is visible within the plug-in.
| | 00:56 | You can zoom in and out using the bars
on the right and bottom of the screen
| | 01:02 | just like any other versions, and the same tools
for Melodyne Editor are available here as well.
| | 01:10 | We can also undo and redo using the Undo
and Redo buttons or with the key command.
| | 01:14 | (music playing)
| | 01:17 | So if I make an edit I can undo
my edit and redo my edit, or I
| | 01:21 | can use Command+Z or Ctrl+Z or
Shift+Command+Z or Shift+Ctrl+Z to Redo.
| | 01:26 | The process of editing a Melodyne Plug-in
is very much like the other versions.
| | 01:31 | If you're familiar with Melodyne Editor, you'll be
perfectly comfortable working with the Melodyne Plug-in.
| | 01:35 | So as you can see, we can choose which sections
of our vocal to transfer into the Melodyne plug-in.
| | 01:40 | So using Melodyne plug-in can give us a
very handy band-aid, if you will, to allow
| | 01:44 | us to patch small sections of our vocal.
| | 01:47 | So perhaps we have a really great
vocal performance and just one or two notes
| | 01:50 | need to be corrected. We can use
Melodyne plug-in to correct those notes within
| | 01:54 | our mix right in our DAW
without ever having to leave our DAW.
| | 01:57 | With Melodyne plug-in you can very
quickly patch the pitch of the small sections
| | 02:01 | or your can also use Melodyne plug-in
to correct whole performances.
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| Synchronizing| 00:00 | Aside from the Melodyne Bridge and
ReWire, Melodyne can also be synchronized
| | 00:04 | using MIDI clock or MIDI time code.
| | 00:07 | If you are not familiar with time code,
you can check out the lynda.com course,
| | 00:11 | Music Editing for TV and Film in Pro Tools.
| | 00:14 | In that course, you'll find a video
on time code that has a pretty good
| | 00:17 | explanation of what time code is, but for
now I'll give you a very, very brief overview.
| | 00:22 | Basically, time code is a language that
allows different pieces of hardware to
| | 00:26 | communicate with each other so
that they can remain in sync.
| | 00:29 | MIDI Clock can also be used for sync,
but it's based on musical beats, because
| | 00:34 | of that it actually works
really well with tempo changes.
| | 00:36 | Earlier in this course, we took a look
at our MIDI Preferences let's go back,
| | 00:40 | open our Melodyne menu, Preferences,
and select the MIDI Ports tab.
| | 00:46 | Here you can see the MIDI Time Code In
and MIDI Time Code Out as well as the
| | 00:50 | MIDI Clock In and MIDI Clock Out settings.
| | 00:53 | You can use MIDI Time Code to sync
Melodyne with another application either
| | 00:57 | having the other application be the
master and Melodyne chasing it, or you can
| | 01:01 | have Melodyne be the master with the
other application chasing Melodyne.
| | 01:05 | If you want Melodyne to follow the
other application, we would set our MIDI Time
| | 01:09 | Code In value to a source
that is coming from our Master.
| | 01:13 | Likewise, if we want to make Melodyne
the master instead, we can choose where
| | 01:16 | we want to send our MIDI Time Code by
choosing an option from the MIDI Time
| | 01:20 | Code Out pop-up menu.
| | 01:22 | If you want to use MIDI Clock, you can
choose your MIDI Clock In or your MIDI
| | 01:26 | Clock Out depending on whether you want
Melodyne to chase another application or
| | 01:30 | you want another application to chase Melodyne.
| | 01:33 | Once we've set the MIDI Ports, we can go
to our Transport bar--which we can open with
| | 01:37 | Shift+Command+T or Shift+Ctrl+T--and
under the Sync menu we can choose to Send
| | 01:42 | MIDI Sync, Receive MIDI Sync, and we
can also Open our Port Settings which will
| | 01:46 | take us right back to where we just were.
| | 01:47 | One last thing to note is that if we're
going to be using MIDI Time Code we'll
| | 01:51 | need to set our frame rate.
| | 01:52 | We can do this by going to the View
menu, selecting SMPTE Type, and select the
| | 01:58 | appropriate frame rate to
keep our project in sync.
| | 02:01 | Using MIDI Time Code or MIDI Clock gives
us yet another option for synchronizing
| | 02:05 | Melodyne with another
application or with other devices.
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|
|
8. ExportingExporting audio when finished| 00:00 | Once you've finished editing,
you'll want to export your audio.
| | 00:03 | In this chapter, we'll look at
the various ways of doing this.
| | 00:06 | Now if you're working in stand-alone
mode, you can export directly from the
| | 00:09 | app, and you can also do this even if you're
working from Melodyne Bridge or via ReWire.
| | 00:15 | To export let's open the File menu and
choose Save Audio, and in our Save Audio
| | 00:21 | we can choose all of our export options.
| | 00:24 | You can choose the Format of the audio
you want to export, you can choose the
| | 00:28 | sample rate, you can choose the bit
rate, and you can choose whether you want
| | 00:33 | Interleaved or Split
Stereo essentially mono files.
| | 00:37 | As for the Range you can choose the Entire
Arrangement to export the entire session.
| | 00:42 | You can choose Between Locators if
you just want to export between the left
| | 00:46 | and the right locators.
| | 00:47 | You can choose Reference Track, which
allows you to choose one of your tracks as
| | 00:51 | a reference for the
length of your exported files.
| | 00:54 | You can choose From Start of
Reference Track until End of Arrangement.
| | 00:58 | So again, you can choose any one of the
files, but usually they're all going to
| | 01:01 | start from the same place.
| | 01:04 | You can also choose Individual Range
for each Track, which will export each
| | 01:08 | track from its given starting
point and with its duration.
| | 01:12 | You can choose Individual File for each
Marker Region, which allows you to split
| | 01:16 | up your export into separate files each
one taking its name from your markers,
| | 01:21 | and you can choose
Individual File for each Note.
| | 01:24 | What this will do is export a
separate file for each note in your melody,
| | 01:28 | essentially creating a sample of each note.
| | 01:31 | For now let's use Entire Arrangement,
and we can export either a Stereo Mix, in
| | 01:36 | which case if we're using our mixer in
Melodyne to create a mix of our final
| | 01:40 | product--we might want to export
just the Stereo Mix--or if we're going to
| | 01:44 | import our audio back into an external DAW, we
can choose Save each track as a single file.
| | 01:49 | And what this will do is write each
track that we export to a new file.
| | 01:53 | When you're saving each track as a
single file you can also enable the option to
| | 01:57 | write MDDs, and what this will do is
it'll save a copy of the MDD so that you
| | 02:01 | have a record of your changes
separate from the final audio.
| | 02:05 | Next, you can choose the
tracks that you want to export.
| | 02:07 | So, typically you're not going to be
working on your instrumental if you're
| | 02:10 | working in stand-alone mode unless
perhaps you brought in something rhythmic,
| | 02:14 | and you just wanted to
change the rhythm using Melodyne.
| | 02:17 | Once you've selected all the tracks that
you want to export, you can choose Save As
| | 02:20 | and choose a location.
| | 02:23 | Also note that if you're exporting
multiple files, when you type in a title it's
| | 02:27 | going to create a folder with that
title, and then each track that you export
| | 02:31 | will be placed in that folder.
| | 02:32 | We are going to cancel to go back to our
Save Audio window, and in our next video
| | 02:36 | we'll take a look at Spot To Pro Tools.
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| Exporting with Spot to Pro Tools| 00:00 | If you're working with Pro Tools, the
Spot To ProTools feature is a really great
| | 00:03 | way to keep your audio
aligned with sample accuracy.
| | 00:07 | Basically, what Spot To ProTools does
is it includes a user timestamp in the
| | 00:11 | audio file it that can then be read by
Pro Tools when you import the audio file
| | 00:15 | back into Pro Tools, and using this
timestamp Pro Tools can then spot the audio
| | 00:20 | file with sample accuracy right where
it's supposed to go. So let's try it.
| | 00:24 | Let just select the lead vocal track--
and we don't need to write the MDD for now--
| | 00:31 | and what we're going to do is choose
the Spot To ProTools option > Save As.
| | 00:36 | We can call this Lead Vocal, and
I'm going to go ahead and save it.
| | 00:40 | You can save this to your desktop or
wherever you want, and Melodyne will save a
| | 00:44 | copy of our audio with all the
changes we've made and with Spot To ProTools
| | 00:47 | enabled it'll include a user
timestamp that we can use in Pro Tools.
| | 00:51 | So let's switch back to Pro Tools, and from
Pro Tools I'm going to import the audio
| | 00:55 | file that I just exported from Melodyne.
| | 00:57 | I am going to choose this file which I
believe I've saved in my Sessions folder,
| | 01:01 | but go ahead and choose the file
wherever you saved it on your computer.
| | 01:05 | You can choose to add it or
copy it, whatever you prefer.
| | 01:08 | I am just going to add it
for now and import that.
| | 01:11 | You go ahead and put it in New
Track or Clip List, whatever you prefer.
| | 01:15 | And now if we're in Spot mode when
you click on the lead vocal that we just
| | 01:19 | imported using the Hand Grabber tool,
you'll see a user timestamp that allows us
| | 01:23 | to spot our audio file to that location.
| | 01:27 | Now if you're not in bars and beats--
perhaps you're working in samples--we'll see
| | 01:30 | the same user timestamp.
| | 01:32 | In this case 0 or at the very
beginning of our session, but if perhaps you're
| | 01:35 | working with a section of the songs
that's later, the timestamp can be very
| | 01:39 | useful, because it allows you to spot
the audio right in the correct place.
| | 01:43 | Because keeping your audio in time it's
critical to the feel of your music, this
| | 01:47 | tool is really helpful because it
allows you to use the timestamps to make sure
| | 01:50 | your audio is going to stay in perfect sync.
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| Printing final audio into your DAW| 00:00 | In addition to saving or exporting
your audio out of Melodyne, you can also
| | 00:04 | record your final corrected
audio back into your DAW.
| | 00:08 | In this video we will look at how to
do that, and this technique can be used
| | 00:12 | with Melodyne Bridge, ReWire,
or the Melodyne plug-in.
| | 00:16 | In this example, I'm using the Melodyne Bridge.
| | 00:18 | So I'm going to switch to Pro Tools
and play my arrangement.
| | 00:21 | (music playing)
| | 00:24 | And you can tell that it's working, because
our audio file for our lead vocal is muted.
| | 00:29 | So what we're hearing is the audio file playing
from Melodyne through the Melodyne Bridge.
| | 00:34 | (music playing)
| | 00:38 | And we can actually verify this another
way by editing something in the audio.
| | 00:45 | We should be able to hear that
when playing it back in Pro Tools.
| | 00:48 | (music playing)
| | 00:51 | Cool! So we know that's working.
| | 00:55 | So the technique essentially works by
setting up the output of Melodyne Bridge
| | 00:59 | or ReWire or the plug-in to come back into
a bus that we then record to an audio track.
| | 01:05 | You should be able to do this in
Logic or any other DAW as well.
| | 01:08 | So what we will want to do first is
I'm going to switch to our Mixer, and I'm
| | 01:11 | going to move our Melodyne Bridge plug-in
into the aux that I've created, and
| | 01:15 | you can see that I've bussed the
output of my aux to the input of an audio
| | 01:19 | track, and I would name this audio
track whatever I want my audio file
| | 01:23 | called, at least in Pro Tools that's going to
print the audio file to disk using that name.
| | 01:27 | So let's call it Correct Lead Vocal.
| | 01:32 | If I record enable this track,
and then start recording.
| | 01:36 | (music playing)
| | 01:44 | We have just recorded the
corrected audio through Melodyne
| | 01:47 | Bridge on to a new track
in our Pro Tools arrangement.
| | 01:51 | One thing to note if you're using
ReWire is that Melodyne must be set as the
| | 01:54 | client in order to pipe audio into the DAW.
| | 01:56 | So now that you've seen a few different
ways to get audio out of Melodyne, you
| | 02:00 | can choose the best option
for the needs of each project.
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ConclusionExploring additional resources| 00:00 | Thanks so much for watching this course.
| | 00:02 | If you'd like to learn more about Melodyne, there's
lots of great information on Celemony's web site.
| | 00:07 | And if you plan to continue using
Melodyne, one of the best ways to learn is
| | 00:11 | to do as many projects as possible.
| | 00:13 | Experience can always help you not
only learn the software, but can also help
| | 00:17 | you to develop your ears and new
and unique editing techniques.
| | 00:21 | If you'd like more information
on my work, you can check out
| | 00:24 | http://www.skyelenwin.com and soundchemistry.com.
| | 00:27 | Also, feel free to check out my other course on
lynda.com, Music Editing for TV and Film in Pro-Tools.
| | 00:33 | Thanks again, and don't stop learning!
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