Use melodyne
![use melodyne use melodyne](https://musicianonamission.com/wp-content/uploads/2021/03/melodyne-1-e1616786204209.png)
I then record the result on the new track as it's playing through.
#Use melodyne how to#
How to print the results will vary from DAW to DAW, but in Logic, I usually send an output from the un-tuned vocal track to a bus and create a new mono track, with the input set to the same bus.
#Use melodyne software#
In other words, while Melodyne's a great tool, no software is infallible, so it's good to know that the vocal line you've just laboured over is saved as audio in your project.
![use melodyne use melodyne](https://www.platinumloops.com/wp-content/uploads/2015/05/melodyne_screen_shot.jpg)
Partly this is, again, a way of managing computer resources, but it's also an insurance policy: in my early vocal-tuning career I had too many experiences of part of a vocal erratically shifting out of sync during playback, or even cutting out completely. It's quite common to be working with many layers of lead and backing vocals, and to use different tracks for different song sections, so rather than having dozens of instances of Melodyne running, I'll start with an instance on one track, perform my Melodyne processes, and print the result to a new track before moving on. I also import a rough instrumental mix of the song, which is important, as it provides the context you need to make the pitch and time adjustments to your vocals. You can use a stand-alone version of Melodyne, but I prefer to use the plug-in in a DAW session, so I create a new empty project (I use Logic Pro, but the principles apply to any DAW) and import the vocal tracks. While that might not be the limiting factor it once was, tuning needn't be a real-time process, and I'd rather leave resources available for other tasks. Another good reason for working in this way is that it avoids having half a dozen instances of the Melodyne plug-in hogging computing resources while mixing. This helps me to keep all the vocal-tuning work neatly together, while still allowing it to be recalled quickly if further edits are required. In both scenarios, I tend to work in the same way, starting with the creation of a dedicated tuning project, in my DAW, that's separate from the main mixing project. Sometimes I tune vocals on my own projects, but I also do this work for other engineers and producers. Let's face it: tuning vocals is not the most fun you can have in music production, but good preparation makes the tuning process much simpler and more speedy. The two other leading pitch processors are Auto-Tune and Cubase/Nuendo's built-in VariAudio, and although the tools are slightly different, much of my more general advice applies equally to users of those tools. Melodyne remains the only game in town if you want to work with polyphonic audio, but for vocal tuning that's usually unnecessary. In this tutorial, I'll share some tips and techniques that should lead you rather more quickly to pitch-perfect productions. I found it intuitive to use, but while instant results were possible, it took time and experimentation to get the best results.
![use melodyne use melodyne](http://assets.celemony.com/AssetCoreNew/4/1/3/Studio_One_Tour_Aufmacher_45_en.png)
Having initially chosen Melodyne simply because it was cheaper than Antares Auto-Tune, I soon noticed that there were very few audible artifacts in the tuned audio. Later still (2009) Melodyne Editor wowed people with the ability to manipulate the pitch of individual notes within a single polyphonic audio file. Initially a stand-alone application, it soon became available as a plug-in. When it first burst on to the scene, it seemed a miracle that you could treat recorded audio in much the same way as you could MIDI notes. I'll leave the rights and wrongs of pitch-processing to others to debate, but I would say that we engineers and producers should remember that tuning plug-ins are intended to help us achieve the best sound we possibly can - and unless we're trying to create a deliberate effect (a Chris Brown-style robo-voice, say, or a Cher-like warble), we really don't want the tuning process itself to be noticeable in the final mix.Ĭelemony's Melodyne pitch-processing software is one of that select bunch of tools that we can genuinely call revolutionary. In a similar way to other performance 'fixing' processes, such as drum quantisation, it's now used so much, on almost all commercial releases, that engineers and the general public alike have become accustomed to hearing it. Over the last decade or so, vocal tuning has become increasingly accepted as part of the music post-production process. Find out how to craft a professional-sounding result.
![use melodyne use melodyne](https://support.musicgateway.com/wp-content/uploads/2020/04/800-x-500-36.jpg)
Pitch correction of vocal parts is now commonplace in all but a few genres.