Recording - May 2011 - 30
well-known producer’s take on when he uses it vs. Melodyne, but for now I’ll give you my thoughts on how Auto-Tune and other more traditional pitch-correctors stack up to something like Melodyne. In terms of simple re-tuning, say, a vocal track with a number of notes a few cents sharp or flat, the sound quality of either Auto-Tune or Melodyne is excellent— when used with the proper settings for transparent correction, both can produce a corrected vocal track with no obvious giveaway of the processing applied or the original flaws in the recording.
C
E
D
If speed is of the essence, Auto-Tune has the distinct advantage in being truly real-time—just instantiate the plug-in, make a few tweaks, and hit Play. Melodyne, on the other hand, must first analyze the audio to be processed to do what it does. This involves playing through the track or section with the Melodyne plug-in’s Transfer function enabled, before any editing can be performed. To be fair, Auto-Tune’s (and others’) Graphic Editing display also requires an analysis like this, but it doesn’t have to be done when using the real-time Automatic mode (which can handle most situations), whereas Melodyne needs to do an analysis for any kind of processing, automatic or manual/graphic. However, when more restrictive (scale-based) or customized pitch manipulation is called for, this is where Melodyne’s graphic piano-roll editor gives it a distinct edge, even (in my opinion) over the graphic mode in other plug-ins. When pitch shifts of several semitones are needed/desired, Melodyne’s formant algorithms seem to allow for a greater range of shifting before the inevitable chipmunk effects start to become noticeable. For the uninitiated, formants are natural resonances in a voice or instrument that don’t change when the pitch does. When a pitch-shifter does its thing, the recorded formants are also transposed, creating the dreaded chipmunk/Darth-Vader artifact. Most pitch processors start to reveal such artifacts after transpositions of two or three semitones, while Melodyne seems to be able to get away with four, five, or even six-semitone shifts before the sound quality suffers too noticeably. Now, to be fair, I haven’t had the time to thoroughly explore the most up-to-date formantadjusting algorithms in Antares’ newest range of pitch plug-ins, but Melodyne has always seemed capable of doing a smoother job in this regard than most other pitch tools I’ve tried.
30
RECORDING MAY 2011
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Recording - May 2011
Table of Contents for the Digital Edition of Recording - May 2011
Recording - May 2011
Fade In
Contents
Talkback
Fast Forward
Phonic S16 Digital Mixer
Lift Your Voice
Chameleon Labs TS-1 MKII Mic
Melodyne In Action
Roland OCTA-CAPTURE
Comparing Auto-Tune and Melodyne editor: A Producer’s Perspective
Samson Meteor Mic
The FATSO Family
Reviewed and Revisited: Antares Auto-Tune 7
Readers’ Tapes
Lauten FC-357 Clarion Mic
It’s Your Music—Know Your Rights. Chapter 14: The Role Of The Producer —Part 2
Game Audio—Your Next Career Move?
sE Electronics Voodoo VR1 Ribbon Mic
Recording’s Bass Column
Advertiser Index
Fade Out
Recording - May 2011 - Recording - May 2011
Recording - May 2011 - Cover2
Recording - May 2011 - 1
Recording - May 2011 - 2
Recording - May 2011 - 3
Recording - May 2011 - Fade In
Recording - May 2011 - 5
Recording - May 2011 - Contents
Recording - May 2011 - 7
Recording - May 2011 - Talkback
Recording - May 2011 - 9
Recording - May 2011 - Fast Forward
Recording - May 2011 - 11
Recording - May 2011 - Phonic S16 Digital Mixer
Recording - May 2011 - 13
Recording - May 2011 - Lift Your Voice
Recording - May 2011 - 15
Recording - May 2011 - 16
Recording - May 2011 - 17
Recording - May 2011 - 18
Recording - May 2011 - 19
Recording - May 2011 - 20
Recording - May 2011 - 21
Recording - May 2011 - 22
Recording - May 2011 - 23
Recording - May 2011 - 24
Recording - May 2011 - 25
Recording - May 2011 - Chameleon Labs TS-1 MKII Mic
Recording - May 2011 - 27
Recording - May 2011 - Melodyne In Action
Recording - May 2011 - 29
Recording - May 2011 - 30
Recording - May 2011 - 31
Recording - May 2011 - 32
Recording - May 2011 - 33
Recording - May 2011 - 34
Recording - May 2011 - 35
Recording - May 2011 - Roland OCTA-CAPTURE
Recording - May 2011 - 37
Recording - May 2011 - Comparing Auto-Tune and Melodyne editor: A Producer’s Perspective
Recording - May 2011 - 39
Recording - May 2011 - Samson Meteor Mic
Recording - May 2011 - 41
Recording - May 2011 - The FATSO Family
Recording - May 2011 - 43
Recording - May 2011 - 44
Recording - May 2011 - 45
Recording - May 2011 - Reviewed and Revisited: Antares Auto-Tune 7
Recording - May 2011 - 47
Recording - May 2011 - Readers’ Tapes
Recording - May 2011 - 49
Recording - May 2011 - Lauten FC-357 Clarion Mic
Recording - May 2011 - 51
Recording - May 2011 - 52
Recording - May 2011 - 53
Recording - May 2011 - 54
Recording - May 2011 - 55
Recording - May 2011 - It’s Your Music—Know Your Rights. Chapter 14: The Role Of The Producer —Part 2
Recording - May 2011 - 57
Recording - May 2011 - Game Audio—Your Next Career Move?
Recording - May 2011 - 59
Recording - May 2011 - sE Electronics Voodoo VR1 Ribbon Mic
Recording - May 2011 - 61
Recording - May 2011 - Recording’s Bass Column
Recording - May 2011 - 63
Recording - May 2011 - 64
Recording - May 2011 - Advertiser Index
Recording - May 2011 - 66
Recording - May 2011 - 67
Recording - May 2011 - 68
Recording - May 2011 - 69
Recording - May 2011 - 70
Recording - May 2011 - 71
Recording - May 2011 - Fade Out
Recording - May 2011 - Cover3
Recording - May 2011 - Cover4
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