Melodyne 2 -- Tru-Blu Polyphonic Sample Editting or total bullshit?!

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Direct Note Access

Grab a note inside a chord, and you can manipulate that note directly. Retune it, change timing, adjust formants, change amplitude — timbre, time, and pitch are all accessible. Celemony is largely pushing this as a corrective tool, as that’s an obvious market, but needless to say, creative applications — even creative abuse — become interesting, too.

I saw a couple mentions of Melodyne previously but figured this new version could stand to have it's own thread. The idea of feeding polyphonic loops into this thing and getting full editable control is -very exciting- to say the elast.

Fall '08 release date, could be total bullshit but dude who created it looks like a hobbit. I trust him implicitly!!

Read more and watch a vid.

The Macallan 18 Year, Saturday, 22 March 2008 00:00 (eighteen years ago)

but will I be able to use it to generate procedural compositions with from a single loop?

El Tomboto, Saturday, 22 March 2008 01:24 (eighteen years ago)

http://musicthing.blogspot.com/

Lolpez, Saturday, 22 March 2008 01:28 (eighteen years ago)

Multi-timbral, polyphonic editing would be the real holy grail, but I'll bet this just falls apart there.

libcrypt, Saturday, 22 March 2008 19:56 (eighteen years ago)

I just heard about this thing. Just saw this vid on it (same one??). Our generation's self playing piano? (Okay no.)

I bet you could do some bonkers shit with this fella here.

RabiesAngentleman, Wednesday, 26 March 2008 15:35 (eighteen years ago)

one year passes...

ok it's getting reviews -- Mix & Sound On Sound

http://www.soundonsound.com/sos/dec09/articles/dnaexamples.htm

Milton Parker, Friday, 5 February 2010 06:25 (sixteen years ago)

crux of the Mix review: auto-note-detection is error prone and needs a lot of manual correction (he mentioned it taking a few minutes to straighten out a 15 second selection of steel guitar playing). and also, complex resonant instruments are tricky because melodyne often detects the overtones as seperate notes, and it doesn't sound 'right' if you start pitching the fundamental away from the overtones. but -- once you put the legwork in -- it works

and frankly I can hardly wait to start hearing what a mad multiphonic saxophone solo sounds like when you pitch the fundamentals away from the overtones, I mean who cares what sounds 'right'

Milton Parker, Friday, 5 February 2010 07:28 (sixteen years ago)

had a muck about with this a few months ago but could never get it to do what it was supposed to. As a granular sampling sound design playground its fantastic though.

straightola, Friday, 5 February 2010 15:14 (sixteen years ago)


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