Recording - August 2016 - 45

use, I found this to be one of the most compelling of Version 4's selling points.
Both the Harmonic and EQ sections
feature four Macro Control sliders, so
that you can add or subtract varied
effects upon the signal: Brilliance,
Contour, Odd/Even (called Tonality in
EQ mode) and Comb.
In Harmonic's Lo and Hi modes,
Brilliance does a great job of adding or
reducing the airy sheen of the high frequencies by way of their associated harmonics, so you can add high end without
bringing up the noise and hiss, too.
Contour targets the differences in height
between neighboring bars. Using it on
the voice of a gravelly-voiced singer, I
was able to keep that particular distinction under control. Odd/Even can fade
out either the odd-numbered harmonics or
even-numbered ones. This can shift the
center of a signal's power, which can be
crucial when sculpting out more room for
elements within a mix. Comb thins out the
harmonic spectrum and makes things
sound... weirder.
In EQ mode, the names of these functions are (mostly) shared, but their job
and results are a bit different, with
Brilliance being more of a treble knob,
while contour seems to work similarly to
its other iteration. Tonality identifies and
either emphasizes or pulls down the

notes that occur within the scale and
Comb this time uses the circle of fifths to
make things sound... weirder. Both of
these modes feature additional access to
formants, which allows you to edit them
without having to 'back out' of where
you are or search for the Formant tool.
In Synth mode, sound designers and
music producers alike can discover a
whole new treasure trove of inspiration
and transformation. By editing envelopes
that independently affect the intensity of
the frequency Spectrum, Formant shifts
and the Amplitude of the notes, synthesizer-like effects can result. Two
Resynthesize sliders can take things even
further into undiscovered sonic places:
Magnitudes compresses or expands differences between overtones, while
Phases influences the natural or unnatural qualities of the signal. All of these
tools go a long way toward making the
sound more synthetic, yet it's still always
based upon your original audio.
The expanded Tempo Editor adds
functionality for importing and following,
or creating and exporting Tempo Maps
as MIDI files. In practice, I eventually
found success creating a new tempo
map, but it did take a bit more additional tweaking than I anticipated with
regard to accurately identifying transients. As with previous versions, any

changes to the recorded material's timing always sounds unfettered and free
from any ugly digital artifacts.
A parting thought
With all of this intonation and timing
control at hand, is anything missing? I felt
there was only one significant omission.
Although it is ReWire compatible,
Melodyne and its contents can't be manipulated via MIDI control. I believe that this
is a missed opportunity. Think of the creative sonic possibilities that would result
from being able to control all of the previously outlined Sound Editor's tools and
processes via repeatable and editable
MIDI control messages! All that dynamic
filtering, formant twisting and synth effects
could be time synchronized and rhythmically consistent, broadening our creative
vistas exponentially. Here's hoping that
we'll see this in a future update.
That one matter aside, Melodyne
Version 4 is definitely a major step forward for Celemony. While it's been an
indispensable correction tool with some
artistic potential, it now stands poised to
take us all on a fantastic journey to
places we've not heard yet!
Prices: see above
More from: Celemony, www.celemony.com


http://www.celemony.com http://www.recordingmag.com/newsletter.html

Table of Contents for the Digital Edition of Recording - August 2016

 Contents
Recording - August 2016 - Intro
Recording - August 2016 - Cover1
Recording - August 2016 - Cover2
Recording - August 2016 - 1
Recording - August 2016 - 2
Recording - August 2016 - 3
Recording - August 2016 - 4
Recording - August 2016 - 5
Recording - August 2016 -  Contents
Recording - August 2016 - 7
Recording - August 2016 - 8
Recording - August 2016 - 9
Recording - August 2016 - 10
Recording - August 2016 - 11
Recording - August 2016 - 12
Recording - August 2016 - 13
Recording - August 2016 - 14
Recording - August 2016 - 15
Recording - August 2016 - 16
Recording - August 2016 - 17
Recording - August 2016 - 18
Recording - August 2016 - 19
Recording - August 2016 - 20
Recording - August 2016 - 21
Recording - August 2016 - 22
Recording - August 2016 - 23
Recording - August 2016 - 24
Recording - August 2016 - 25
Recording - August 2016 - 26
Recording - August 2016 - 27
Recording - August 2016 - 28
Recording - August 2016 - 29
Recording - August 2016 - 30
Recording - August 2016 - 31
Recording - August 2016 - 32
Recording - August 2016 - 33
Recording - August 2016 - 34
Recording - August 2016 - 35
Recording - August 2016 - 36
Recording - August 2016 - 37
Recording - August 2016 - 38
Recording - August 2016 - 39
Recording - August 2016 - 40
Recording - August 2016 - 41
Recording - August 2016 - 42
Recording - August 2016 - 43
Recording - August 2016 - 44
Recording - August 2016 - 45
Recording - August 2016 - 46
Recording - August 2016 - 47
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Recording - August 2016 - 72
Recording - August 2016 - Cover3
Recording - August 2016 - Cover4
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