Melodyne > Auto-tune

astrozombie

KatyPerryologist
I hope someone knows what I'm talking about. :lmao:

production isn't a very big topic of discussion on the boards.
 
Re: Melodyne > Auto-tune

Call me old-fashioned, but, OH HELL NO.
O__O
I'm scared of anything that involves perfecting the note structure of a beautifully imperfect instrument. xP
 
Re: Melodyne > Auto-tune

^ Melodyne can just touch up a bad note here and there or make everything pitch perfect, it's all about the driver not the wheels.
 
Re: Melodyne > Auto-tune

not to mention: melodyne is pretty damn transparent.

Yep, if you know what you're doing you can't hear it at all. It's always best to get a take that's where you want it either by singing bad parts again or comping together a good track then use Melodyne for touch ups. One of the best things it does is align backing vocals and double tracked vocals if you're going for tight POP vocals.
 
Re: Melodyne > Auto-tune

^ Melodyne can just touch up a bad note here and there or make everything pitch perfect, it's all about the driver not the wheels.

The thing is, I don't like pitch perfect.
I'm weird, I have this thing where I get paranoid over being musically lied to.
Immature? Maybe. But it's just a quirk of mine.
Overly perfected recorded music seems to lose the emotional power that more "organically" recorded music has, at least in my weird little head. I'm all for electronic instrumentation, but I just feel uneasy about a guitar, voice, or piano that's pitch perfect to 1/100th of a cent. I like live music. I like hearing mild imperfections.
There's no such thing as a bad note, just one you don't like. I like the notes other people don't like. Don't ask me why, I wouldn't know.
 
Re: Melodyne > Auto-tune

I hear ya, everything has it's place. POP music in today's market is expected to be next to perfect, play by the rules or don't play. You can always do a White Stripes vibe and be successful.
 
Re: Melodyne > Auto-tune

There's a lot wrong with pop in today's market. "Hey! Let's make uber-softcore porn stars sing into fans over catchy electronic beats!"
Well, I'm done with my pretentious hipster schtick for now.
I'll open my mind.
What would be a common example of a practical use of Melodyne?
 
Re: Melodyne > Auto-tune

What would be a common example of a practical use of Melodyne?

Let's say you go into a real nice studio and record vocals and you think it's right where you want it then after a few days you hear something that really bugs you, an out of key note for example. You can't afford to go back and do it again so you open the file in Melodyne and fix that note. It could be a guitar solo or some other instrument as well. It's just a tool, you don't have to over use it.
 
Re: Melodyne > Auto-tune

I used it, but i settled on Antares. I hope these two are not the same thing.

Antares is pretty cool. You can keep tweaking it until it becomes unnoticeable but it still does pitch correction. Just a matter of getting the correction amount, and attack speed dialed in. I use a chromatic scale :)
 
Re: Melodyne > Auto-tune

If there's two notes together in one track and only one of them is off, melodyne can correct just one of the notes which means it must be pretty sophisticated to work polyphonically like that.
 
Re: Melodyne > Auto-tune

Sorry man, I wholeheartedly disagree. I'll sometimes use Melodyne on stacks of background vocals, because I actually like the 'chorusy' effect it puts on things, but that's it. For lead vocals, Antares AutoTune Evo in graphical mode 100% - especially on anything with a bit of grit to it.

Melodyne definitely affects every bit of audio that runs through it, and adds a slightly chorusing effect. AT is not without it's own sound, but it's far more transparent/natural, and only affects the fixed notes - not the entire track.

Not only that, but Melodyne is not at all sample accurate. Over the course of a track you loose a couple MS of overall time, and it's really a pain. Melodyne is currently the only really viable way to autotune bass tracks, but you have to tune before you pocket it to the drums, or else all your hard work pocketing in the first place will be thrown off my Melodyne's terrible timing engine.

This all holds true for both Melodyne standalone and the Melodyne plugin.

As far as Melodyne DNA and correcting polyphonic pitch... it's alright - it has a hard time discerning between overtones and actual notes, unfortunately, and takes a lot of tweaking to be accurate.
 
Re: Melodyne > Auto-tune

? You can work a different way VK. Only work on the region with errors or open the file in Melodyne find the offending notes and fix them and only export the region that you fixed then drop that back into your project. As far as chorusing I have never encountered that problem and I have been a user since it first came out.

Over the course of a track you loose a couple MS of overall time

As you do with many plugins. I'm on Logic and it has a delay compensation function in MS, which is quite easy to use and fix anomolies.
 
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Re: Melodyne > Auto-tune

Melodyne has a definite sound of it's own - it's far from transparent, especially when doing it on stacks of layered vocals. Not to mention it does not work at all on anything screamed/shouted with a pitch; it doesn't track right to begin with, and the way it handles the grit sounds really fake and processed compared to Waves Tune or AT Evo.

It's not delay compensation - the entire waveform shrinks by a few MS, and it can't be fixed by just stretching it back out with elastic audio or whatever your DAW's equivalent is.

Working in chunks is the only way I've found around it, with bass - with vocals, I edit timing and line up doubles with Vocalign after I tune, so it's never been an issue. Having to bounce every couple bars is a definite pain, though.
 
Re: Melodyne > Auto-tune

What would be a common example of a practical use of Melodyne?

You are recording a ballad and you hire a very expensive session string quartet. After their flawless execution of your score, you realize you made a mistake in your score and had, let's say 10 wrong notes in the whole thing, including all 4 instruments, so 2 or 3 wrong notes per instrument.

Do you A) rescore it, and hire the quartet again for a full day of recording or B) fix the 10 notes with Melodyne?
 
Re: Melodyne > Auto-tune

What would be a common example of a practical use of Melodyne?

Singer absolutely NAILS a take, vibe and aggression and feeling wise, but is a bit flat on a single word in the middle of it - a word you can't punch in on. You can spend more time getting him to retrack it until you (and you won't) match the vibe of that perfect take, but in perfect pitch, or you can open up AT or Melodyne and fix it in 30 seconds including buffer/bounce time.

Or, say you want a really huge, 'wall of sound' type vocal for the chorus - you track the guy twice down the middle, harmonies left and right, double the harmonies left and right, and maybe a lower octave of the lead line down the middle. Nobody is going to nail every single one of those, and if the left/right vocals aren't dead on, pitch-wise, they'll through off perception of the lead vocal, regardless of how in-tune it original was. Using AT or Melodyne on a natural setting (not a hard-tune, T-Pain type thing) will get everything gelled and sitting nice with eachother, and editing timing so the syllables match up will make it even better.
 
Re: Melodyne > Auto-tune

I just wanted to add that as a singer Melodyne has allowed me to catch my weaknesses by actually "seeing" them. This has helped me improve quite a bit as I know where to focus my practice time.
 
Re: Melodyne > Auto-tune

I tried melodyne for my demos but it annoys me, it corrects but sounds noticeable for my agressive singing and level of patience for tweaking; I have no use for it for guitars and never tried it for guitars. I have tried using it for a year and have given up!

I agree with innerdreamrecords.co in that the best thing about it as far as I am concerned is its good for harmonizing, and good to use to correct and then sing along to when retracking for a final vocal take.
 
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