The basic architecture of the Melodyne product line is unchanged in version 5. In this review, I'll assume that you are familiar with the basic operation of Melodyne and with the main features of version 4: if you aren't, check out our review of that version in the February 2016 issue. More than four years on from version 4, Melodyne 5 also offers an impressive selection of new features. New versions of Melodyne don't come along that often, but when they do, they are usually worth the wait! Version 4 also brought forth some amazing tools for manipulating the tempo of entire multitracks. It remains one of very few programs that can perform pitch‑correction on polyphonic sources, and the Sound Editor introduced in Melodyne 4 provides a huge palette of resynthesis and processing possibilities. Of course, both packages are adept in both fields, but Melodyne has some unique capabilities. 'Auto-Tuning', by contrast, often suggests the use of pitch processing as a special effect. When producers talk of vocals as having been 'Melodyned', they are usually implying the use of non-invasive pitch‑correction. Since its launch 20 years ago, Celemony's Melodyne has joined Antares' Auto-Tune in that realm of ubiquity where people use its name as a verb. In our exclusive review, we explore version 5's new superpowers. Note how it ignores the quiet, sharp section at the end of the note and positions it such that the first, loud section is centred.Īlthough it's now been around for two decades, Melodyne is still the stuff of science fiction.
The long note here is a good example of Melodyne 5's new weighted pitch centre algorithm in action.
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