DOCSLIB.ORG

Melodyne 5 Studio – Quick Start

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Melodyne 5 Studio – Quick Start user manual Last updated on 10/05/2021 Melodyne 5 studio - Stand-alone The Melodyne Help Center and this PDF document This PDF document was generated automatically from the contents of the Melodyne Help Center. It contains what, on the date indicated on the front page, were the latest versions of the text and images. You will find the comprehensive and invariably up-to-date Melodyne Help Center along with numerous films and inspiring tutorials, as well naturally as the latest version of this PDF document, on our web site. Why not take a look? Just follow the link at the foot of each page of this PDF. Melodyne 5 studio – Quick Start Integration • Checking the algorithm • Editing • The macros • The Sound Editor • Multitrack editing • What else should I read? Melodyne expert tips by Rich Crescenti Vocals • Other instruments Reference manual videos Fundamentals and workflow • Tools and functions • Algorithms and note assignment • Tempo Loading and saving audio Tempo adjustment when audio files are loaded • Loading files from the menu • Loading files by drag ‘n’ drop • The File Browser • Saving audio: the Export window • The ‘Replace Audio’ command © Celemony Software GmbH 2021 • Last updated on 10/05/2021 • Help Center • www.celemony.com 2 Melodyne 5 studio - Stand-alone Recording audio Audio and recording preferences • Handling the tempo and the metronome • Enabling, starting and stopping recording The Project Browser Opening the Project Browser • The Project Browser in the stand-alone implementation • Unused and missing audio files • Commands in the drop-down and context menus Project documents Opening a project document • Creating a new project document and switching between projects • Closing and saving projects • The audio folder of a project • Copying audio from one open project to another • Importing projects Playback, navigation, zooming Controlling playback using the keyboard and transport bar • Controlling playback, scrubbing and zooming using the Time Ruler • Resizing the window • Scrolling and zooming in the Note Editor • Navigation and zoom functions Cycle mode Defining the cycle range • Switching cycle mode on and off • Changing the length of, and moving, the cycle range • Defining the cycle range using a blob selection Display and other options Showing and hiding elements of the user interface • Show Pitch Curve • Show Note Separations • Show Note Tails • Displaying sibilants • Displaying fades • Show Blob Info • Show Intended Notes • Highlight Notes During Playback • Highlight Track Affiliation • Monitor When Editing Blobs Preferences and keyboard shortcuts Opening the window and user interface settings • Audio and recording preferences • Shortcuts • Check for Updates Audio characteristics and algorithms The detection process • The Universal algorithm • The “Percussive” algorithms • The Melodic algorithm • The “Polyphonic” algorithms • Switching algorithms • Automatic or manual algorithm selection © Celemony Software GmbH 2021 • Last updated on 10/05/2021 • Help Center • www.celemony.com 3 Melodyne 5 studio - Stand-alone Note Assignment Mode What editing the detection involves • What is edited and where • Various types of notes Tools for note assignment The Main Tool in Note Assignment Mode • The Activation Tool • The slider and the Energy Image • The Venetian Blinds • Starting point lines and designated starting points • The Note Separation Tool and the Separation Type Tool • The Starting Point Tool • The Sibilant Range Tool • The Energy Share Tool • The Note Inspector The Algorithm Inspector The Preview parameters • The Algorithm parameters • Sibilant Handling, Robust Pitch Curve, Separate Audio • Save/Load Assignment Data (stand-alone implementation only) • A note on compatibility with Melodyne 4 The Time Grid Activating and setting the Time Grid • Moving notes when the grid is active Chord recognition and the Chord Track Triggering the harmonic analysis • Selecting between alternative designations • Entering chords manually • Keyboard shortcuts for editing the chords • Auditioning chords • Chord symbol conventions • MIDI export of the chords as a lead sheet • The Key Track and key changes • The Key Track and the Scale Ruler • Chords and keys in Note Assignment Mode The Pitch Grid The functions of the Pitch Ruler and access to the Pitch Grid • The Pitch Grid and the background in the Note Editor • The Scale Ruler and the Reference Pitch Ruler • Adjusting the master tuning • Selecting the tonic and scale variety • The Scale Window • Saving a scale Editing scales Displaying the extended scale area • Editing modes • Editing intervals • Intervals displayed as frequency ratios • Defining intervals • Creating your own scales • Working with stretch tuning Identifying scales Showing the Scale Detective and adjusting its sensitivity • Scale detection options • Applying the detected scale. © Celemony Software GmbH 2021 • Last updated on 10/05/2021 • Help Center • www.celemony.com 4 Melodyne 5 studio - Stand-alone Selecting notes Standard selection techniques • Snake selection • Selection using the Pitch Ruler • Selection commands in the menu Correct Pitch Macro Opening and using the macro • Closing the macro and correction values when it is reopened • The Correct Pitch macro and sibilants Quantize Time Macro Quantizing timing: What is moved and where to? • Opening the Quantize Time Macro and setting the parameters • Closing the macro and correction values on reopening The Leveling Macro Opening and setting the Leveling Macro • The Mean Amplitude • Closing the macro and correction values when it is subsequently re-opened Main Tool Modifying the pitch and timing of notes • Modifying note lengths • Editing note separations Pitch Tool Shifting the pitch center • Monitoring pitch shifts • Editing pitch with the inspectors • Correcting pitch with a double click • Pitch transitions • Resetting individual edits and introducing random deviations Pitch modulation and drift Editing pitch modulation and drift • The inspector for pitch modulation and drift • The Reset commands Formant Tool Shifting formants • The inspector for the formants • Formant transitions • The Reset commands Amplitude Tool Editing amplitude • Editing amplitude using the inspectors • Amplitude transitions • Muting notes • The reset commands © Celemony Software GmbH 2021 • Last updated on 10/05/2021 • Help Center • www.celemony.com 5 Melodyne 5 studio - Stand-alone Tools for fades and sibilant balance The Fade Tool: Fade-in and fade-out on notes • Fades in conjunction with other tools • The Sibilant Balance Tool: The management of sibilants and breath noise • Uses for the Sibilant Balance Tool Timing Tool Modifying the position and length of notes • Timing changes in the case of connected notes • Correcting timing with a double-click • Adding random deviations • The reset commands Time Handles and Attack Speed How time handles and the Attack Speed Tool work • Modifying the evolution of notes using time handles • Changing the attack speed of notes • Combining time handles with the Attack Speed Tool Note separation tools Inserting, moving and removing note separations • Editing note separations with multiple notes selected • Soft and hard note separations • Switching between hard and soft separations with the Separation Type Tool • In the context menu: Separate Note • In the context menu: Separate Notes as Trills • In the context menu: Merge notes The Note Inspector The parameters of the Note Inspector • Entering values and handling multiple selected notes Copying notes The selection, cursor and grid when copying • Tempo adjustment when copying: the Auto Stretch Switch • Copying in a multi-track context (without ARA) The Edit menu Restore Original • Adding random deviations • Macros • Select Special • Tempo • Chords and Keys • Copy commands for the detection data Audio to MIDI About Audio-to-MIDI • Saving MIDI from the stand-alone implementation of Melodyne Multitrack editing Multi-tracking in Melodyne • Differences between the stand-alone and plug-in implementations • The track headers • The Track Inspector in the stand-alone implementation • The Editing Mix Fader • The track pane © Celemony Software GmbH 2021 • Last updated on 10/05/2021 • Help Center • www.celemony.com 6 Melodyne 5 studio - Stand-alone and working with tracks in the stand-alone implementation • Copying between documents, tracks and instances • "Spread Unison Tracks" The Sound Editor Opening the Sound Editor • The mean spectrum • Emphasis and Dynamics • Bypass, Gain and the global Sound Editor menu • The working areas • The Harmonics, Hi and Lo working areas • The harmonics bars and how to use them • The Harmonics, Lo and Hi macro controls • The EQ working area • The EQ macro sliders • Formants • The envelopes in the Synth working area • The Resynthesis parameters in the Synth working area Tempo detection and Auto Stretch Introduction • Tempo in the stand-alone and plug-in implementations • Determining the tempo in the stand- alone implementation • Auto Stretch when importing additional audio files • Auto Stretch when notes are moved or copied • The difference between editing and assigning tempo Editing tempo Opening the Tempo Editor and overview • Editing the tempo curve • Tempo changes in the transport bar • The contextual menu • Constant tempo and the start of Bar 1 • Copying and pasting tempo maps • Importing a tempo map • Exporting a tempo map Time signature changes Changing the time signature. • Moving the beginning of the first bar • Inserting and editing time signatures • The time
Load more

Recommended publications
  • Producing an a Cappella CD and Development of a Pitch Detection Program
    A Guide to Producing An A Cappella CD and Development of a Pitch Detection Program A Senior Project submitted in partial fulfillment of requirements for the Bachelor of Arts Degree in Liberal Arts and Engineering Studies By Jacob Ray Stringfellow Liberal Arts and Engineering Studies Department College of Engineering California Polytechnic State University San Luis Obispo Spring Quarter, 2012 Abstract An in-depth look at the steps required to produce a CD for an a cappella group. From what microphone and preamplifiers to use, to what steps to take during the editing, mixing, and mastering processes. Finished with a look at pitch detection algorithms and how they work, and a little bit of experimentation with my own algorithm and program. 1. Introduction We live in a world that is filled with music. This music comes in different varieties ranging from hip-hop and rap to country and classical. One genre of music that seems to be on the rise now a day is that of a cappella, or singing without instruments. With shows such as America’s Got Talent showcasing collegiate a cappella groups, and shows like the Sing Off that focus on a cappella singing, it seems that collegiate a cappella groups are reaching a peak in popularity. With a cappella groups being formed, and music being performed, there is also a rising demand to record their music. This presents an interesting challenge. Getting your a cappella group’s song recorded professionally can be costly, and on college student budgets it can be hard to afford. That being said, I suggest that there is a solution to this problem.
    [Show full text]
  • Download Download
    Florian Heesch Voicing the Technological Body Some Musicological Reflections on Combinations of Voice and Technology in Popular Music ABSTRACT The article deals with interrelations of voice, body and technology in popular music from a musicological perspective. It is an attempt to outline a systematic approach to the history of music technology with regard to aesthetic aspects, taking the iden- tity of the singing subject as a main point of departure for a hermeneutic reading of popular song. Although the argumentation is based largely on musicological research, it is also inspired by the notion of presentness as developed by theologian and media scholar Walter Ong. The variety of the relationships between voice, body, and technology with regard to musical representations of identity, in particular gender and race, is systematized alongside the following cagories: (1) the “absence of the body,” that starts with the establishment of phonography; (2) “amplified presence,” as a signifier for uses of the microphone to enhance low sounds in certain manners; and (3) “hybridity,” including vocal identities that blend human body sounds and technological processing, where- by special focus is laid on uses of the vocoder and similar technologies. KEYWORDS recorded popular song, gender in music, hybrid identities, race in music, presence/ absence, disembodied voices BIOGRAPHY Dr. Florian Heesch is professor of popular music and gender studies at the University of Siegen, Germany. He holds a PhD in musicology from the University of Gothenburg, Sweden. He published several books and articles on music and Norse mythology, mu- sic and gender and on diverse aspects of heavy metal studies.
    [Show full text]
  • Sound FX Unlocking the Creative Potential of Recording Studio Effects
    Sound FX Unlocking the Creative Potential of Recording Studio Effects Alexander U. Case AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD • PARIS • SAN DIEGO SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an Imprint of Elsevier FFM-K52032.inddM-K52032.indd iiiiii 55/30/2007/30/2007 110:25:100:25:10 AAMM FFM-K52032.inddM-K52032.indd iivv 55/30/2007/30/2007 110:25:100:25:10 AAMM For Dolores and Joe who taught me how to learn and showed me I could teach. FFM-K52032.inddM-K52032.indd v 55/30/2007/30/2007 110:25:100:25:10 AAMM FFM-K52032.inddM-K52032.indd vvii 55/30/2007/30/2007 110:25:100:25:10 AAMM Contents Acknowledgements xv Introduction xix Section 1: Sound — Signals, Systems, and Sensation 1 Chapter 1: Audio Waveform 3 1.1 Medium 3 1.2 Amplitude versus Time 4 1.2.1 Amplitude Confusions 6 1.2.2 Time Implications 8 1.3 Amplitude versus Distance 9 1.4 Amplitude versus Frequency 10 1.5 Complex Waves 12 1.5.1 Square Waves 15 1.5.2 Sawtooth Waves 16 1.5.3 Triangle Waves 19 1.6 Decibel 19 1.6.1 Logarithm 21 1.6.2 Ratios 24 1.6.3 References 29 1.6.4 Zero Decibels 31 1.6.5 Negative Decibels 32 1.7 Dynamic Range 32 1.8 Sound Misconceptions 35 1.8.1 Mistaking the Message for the Medium 35 1.8.2 Don’t Picture These Sketches 35 Chapter 2: Signal Flow 39 2.1 Types of Sessions 39 2.1.1 Basics 40 2.1.2 Overdubs 42 2.1.3 Mixdown 45 2.1.4 Live to Two 46 2.2 Console Signal Flow 47 2.2.1 Channel Path 48 vii FFM-K52032.inddM-K52032.indd vviiii 55/30/2007/30/2007 110:25:100:25:10 AAMM Contents 2.2.2 Monitor Path 48 2.2.3 Split Console
    [Show full text]
  • Looking for Vocal Effects Plug-Ins?
    VOCAL PITCH AND HARMONY PROCESSORS 119 BOSS VE-20 VOCAL PERFORMER Designed from TC-HELICON VOICELIVE 2 VOCAL the ground up for vocalists, using some of the finest HARMONY AND EFFECTS PEDAL SYSTEM technology available, this easy-to-use pedal will help A floor-based vocal processor with an easy-to- you create vocals that are out of this world! Real-time use, completely re-designed interface. Great for pitch correction and 3-part diatonic harmonies can creative live performances. Features a “wizard” be combined with 38 seconds of looping and special button to help you find the right preset quickly, stompbox access to 6 effect blocks, effects such as Distortion, Radio, and Strobe for unique 1-button access to global tone, pitch, and guitar effects menus. Up to 8 voices with performances. Provides phantom power for use with condenser microphones and is MIDI keyboard control or 4 doubled harmonies. Control harmonies with guitar, MIDI, powered by an AC adapter or (6) AA batteries. Accepts ¼” or XLR input connections or MP3 input. Has a new effects section that includes separate harmony, doubling via the rear panel combo jack and offers L/R XLR and ¼” phone/line outputs. blocks, reverb, and tap delay. Also has a special effects block for more extreme ITEM DESCRIPTION PRICE effects such as “T-Pain”, megaphone and distortion. Global effects include tone, VE20.......................... Vocal performer pedal ................................................................. 279.00 pitch correction, and guitar effects. Adaptive gate reduces mic input when you're not singing and use your feet for digital mic gain. All effects may be used simultane- NEW! ously.
    [Show full text]
  • 21065L Audio Tutorial
    a Using The Low-Cost, High Performance ADSP-21065L Digital Signal Processor For Digital Audio Applications Revision 1.0 - 12/4/98 dB +12 0 -12 Left Right Left EQ Right EQ Pan L R L R L R L R L R L R L R L R 1 2 3 4 5 6 7 8 Mic High Line L R Mid Play Back Bass CNTR 0 0 3 4 Input Gain P F R Master Vol. 1 2 3 4 5 6 7 8 Authors: John Tomarakos Dan Ledger Analog Devices DSP Applications 1 Using The Low Cost, High Performance ADSP-21065L Digital Signal Processor For Digital Audio Applications Dan Ledger and John Tomarakos DSP Applications Group, Analog Devices, Norwood, MA 02062, USA This document examines desirable DSP features to consider for implementation of real time audio applications, and also offers programming techniques to create DSP algorithms found in today's professional and consumer audio equipment. Part One will begin with a discussion of important audio processor-specific characteristics such as speed, cost, data word length, floating-point vs. fixed-point arithmetic, double-precision vs. single-precision data, I/O capabilities, and dynamic range/SNR capabilities. Comparisions between DSP's and audio decoders that are targeted for consumer/professional audio applications will be shown. Part Two will cover example algorithmic building blocks that can be used to implement many DSP audio algorithms using the ADSP-21065L including: Basic audio signal manipulation, filtering/digital parametric equalization, digital audio effects and sound synthesis techniques. TABLE OF CONTENTS 0. INTRODUCTION ................................................................................................................................................................4 1.
    [Show full text]
  • MASCHINE 2 Manual
    MASCHINE MIKRO MK3 MANUAL Disclaimer The information in this document is subject to change without notice and does not represent a commitment on the part of Native Instruments GmbH. The software described by this docu- ment is subject to a License Agreement and may not be copied to other media. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by Native Instruments GmbH, hereinafter referred to as Native Instruments. “Native Instruments”, “NI” and associated logos are (registered) trademarks of Native Instru- ments GmbH. ASIO, VST, HALion and Cubase are registered trademarks of Steinberg Media Technologies GmbH. All other product and company names are trademarks™ or registered® trademarks of their re- spective holders. Use of them does not imply any affiliation with or endorsement by them. Document authored by: David Gover and Nico Sidi. Software version: 2.7.8 (09/2018) Hardware version: MASCHINE MIKRO MK3 Special thanks to the Beta Test Team, who were invaluable not just in tracking down bugs, but in making this a better product. Contact NATIVE INSTRUMENTS GmbH NATIVE INSTRUMENTS North America, Inc. Schlesische Str. 29-30 6725 Sunset Boulevard D-10997 Berlin 5th Floor Germany Los Angeles, CA 90028 www.native-instruments.de USA www.native-instruments.com NATIVE INSTRUMENTS K.K. NATIVE INSTRUMENTS UK Limited YO Building 3F 18 Phipp Street Jingumae 6-7-15, Shibuya-ku, London EC2A 4NU Tokyo 150-0001 UK Japan www.native-instruments.co.uk www.native-instruments.co.jp NATIVE INSTRUMENTS FRANCE SARL SHENZHEN NATIVE INSTRUMENTS COMPANY Limited 113 Rue Saint-Maur 5F, Shenzhen Zimao Center 75011 Paris 111 Taizi Road, Nanshan District, Shenzhen, France Guangdong www.native-instruments.com China www.native-instruments.com © NATIVE INSTRUMENTS GmbH, 2018.
    [Show full text]
  • TA-1VP Vocal Processor
    D01141720C TA-1VP Vocal Processor OWNER'S MANUAL IMPORTANT SAFETY PRECAUTIONS ªª For European Customers CE Marking Information a) Applicable electromagnetic environment: E4 b) Peak inrush current: 5 A CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). NO USER- Disposal of electrical and electronic equipment SERVICEABLE PARTS INSIDE. REFER SERVICING TO (a) All electrical and electronic equipment should be QUALIFIED SERVICE PERSONNEL. disposed of separately from the municipal waste stream via collection facilities designated by the government or local authorities. The lightning flash with arrowhead symbol, within equilateral triangle, is intended to (b) By disposing of electrical and electronic equipment alert the user to the presence of uninsulated correctly, you will help save valuable resources and “dangerous voltage” within the product’s prevent any potential negative effects on human enclosure that may be of sufficient health and the environment. magnitude to constitute a risk of electric (c) Improper disposal of waste electrical and electronic shock to persons. equipment can have serious effects on the The exclamation point within an equilateral environment and human health because of the triangle is intended to alert the user to presence of hazardous substances in the equipment. the presence of important operating and (d) The Waste Electrical and Electronic Equipment (WEEE) maintenance (servicing) instructions in the literature accompanying the appliance. symbol, which shows a wheeled bin that has been crossed out, indicates that electrical and electronic equipment must be collected and disposed of WARNING: TO PREVENT FIRE OR SHOCK separately from household waste. HAZARD, DO NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE.
    [Show full text]
  • BOSS' Ultimate 16-Track Studio
    BR-1600CD Digital Recording Studio BOSS’ Ultimate 16-Track Studio. .......................................................................... .......................................................................... The BR-1600CD Digital Recording Studio combines BOSS’ famous, easy-to-use interface Easy Multitrack Recording Build Your Own Backing Tracks with eight XLR inputs for recording eight tracks simultaneously. This affordable 16-track .......................................................................... .......................................................................... recorder comes loaded with effects for guitars and vocals—including COSM® The BR-1600CD includes eight sweet-sounding XLR microphone The BR-1600CD now includes separate Drum, Bass and Loop Overdrive/Distortion, Amp Modeling and a new Vocal Tool Box—plus convenient PCM inputs with phantom power. Use them to mic up a drum set or to Phrase tracks for creating complete backing arrangements. The record your entire band in a single pass. Recording eight tracks Drum and Bass tracks come with high-quality PCM sounds. The drum and bass tracks, a 40GB hard drive, CD-R/RW drive and USB port. It’s the perfect at once is easy, thanks to a new “Multi-Track” recording mode— Loop Phrase track can be loaded with user samples, or you can way to record your band. just pick your inputs and start recording while taking advantage choose from a collection of loop phrases pre-loaded onto the of powerful channel effects like a compressor, 3-band EQ and hard disk. Using these
    [Show full text]
  • Pitch-Shifting Algorithm Design and Applications in Music
    DEGREE PROJECT IN ELECTRICAL ENGINEERING, SECOND CYCLE, 30 CREDITS STOCKHOLM, SWEDEN 2019 Pitch-shifting algorithm design and applications in music THÉO ROYER KTH ROYAL INSTITUTE OF TECHNOLOGY SCHOOL OF ELECTRICAL ENGINEERING AND COMPUTER SCIENCE ii Abstract Pitch-shifting lowers or increases the pitch of an audio recording. This technique has been used in recording studios since the 1960s, many Beatles tracks being produced using analog pitch-shifting effects. With the advent of the first digital pitch-shifting hardware in the 1970s, this technique became essential in music production. Nowa- days, it is massively used in popular music for pitch correction or other creative pur- poses. With the improvement of mixing and mastering processes, the recent focus in the audio industry has been placed on the high quality of pitch-shifting tools. As a consequence, current state-of-the-art literature algorithms are often outperformed by the best commercial algorithms. Unfortunately, these commercial algorithms are ”black boxes” which are very complicated to reverse engineer. In this master thesis, state-of-the-art pitch-shifting techniques found in the liter- ature are evaluated, attaching great importance to audio quality on musical signals. Time domain and frequency domain methods are studied and tested on a wide range of audio signals. Two offline implementations of the most promising algorithms are proposed with novel features. Pitch Synchronous Overlap and Add (PSOLA), a sim- ple time domain algorithm, is used to create pitch-shifting, formant-shifting, pitch correction and chorus effects on voice and monophonic signals. Phase vocoder, a more complex frequency domain algorithm, is combined with high quality spec- tral envelope estimation and harmonic-percussive separation to design a polyvalent pitch-shifting and formant-shifting algorithm.
    [Show full text]
  • Burn Baby Burn Muziek Op Cd Zetten Gratis Epub, Ebook
    BURN BABY BURN MUZIEK OP CD ZETTEN GRATIS Auteur: Vet Martijn Aantal pagina's: 191 pagina's Verschijningsdatum: 9999-01-01 Uitgever: Pearson Benelux EAN: 9789043011945 Taal: nl Link: Download hier De 100 grootste jaren 70 hits Shoemaker houdt van een lekker vol geluid, maar overdrijft dit gelukkig nergens. De kracht van zijn muziek schuilt in de eenvoud. Zijn liedjes bestaan uit simpele, catchy melodieën die zich onmiddellijk in je hoofd nestelen. Shoemaker heeft de songs voorzien van een sobere, hechte productie waarin zijn gitaarspel, net als zijn stem, licht schurend de boventoon voeren. Daarnaast komt er af en toe, als aangename accent, een orgeltje, een bluesharp of een diepdonkere gospelstem om de hoek, om de downtempo liedjes even licht op te tillen. En de muzikanten? Luister naar de samenstelling van zijn band en het water loopt je in de mond: Tommy MacLuckie electric guitar, harmony vocal , Trina Shoemaker harmony vocal, shaker, backing vocal , Ryan Donohue bass , Michael Barras drums , Trevor Brooks piano, organ , John Milham drums , Rosalind Gonsalver harmony vocal , Daro n Douglas violin en Mike Voelker drums. Begeleid door deze rockers verhaalt Capps op klassieke wijze over tal van vreemde vogels die het zuiden bevolken, zoals muzikante Washboard Lisa en cr azy Bobby Long, hij bezingt dus vooral de zelfkant van de samenleving, onderwerpen van iedereen en van alle tijden. Deze twaalf songs zijn allemaal hoogtepunten. Kortweg : Op "If You Knew My Mind" staan songs die diep geworteld zijn in de New Orleans-traditie en daarom in de collectie van geen enkele roots-liefhebber mogen ontbreken, gewoon een super-intense prachtplaat! De maanden september en oktober zullen, wat mij betreft, door het leven gaan als een overkill aan American Roots muziek releases.
    [Show full text]
  • English Version
    ENGLISH VERSION Table of Contents Introduction .................................................... page 4 Using & Understanding the Effect ..............page 22 Quick Start .......................................................page 6 Using the Effects ............................................page 23 Adaptive Shape EQ ......................................................page 23 Using Two VoiceTone Pedals ....................... page 12 Adaptive Compression ...............................................page 24 De-ess ..................................................................................page 25 Front & Back Panel Descriptions ............... page 13 Pitch Correction .............................................................page 26 Understanding Live Engineer Effects .........page 27 Setup Configurations ....................................page 16 Phantom Power ..............................................................page 16 Understanding Pitch Correction ................page 31 Standard Setup ................................................................page 17 Main/Monitor ...................................................................page 18 Sound Engineer Setup .................................................page 19 FAQ & Troubleshooting ...............................page 33 Advanced Setup .............................................................page 2 Specifications ..................................................page 35 TC Helicon Vocal Technologies Ltd. Manual revision 1.0 – SW – V 1.0 | Prod.
    [Show full text]
  • User Manual Last Updated on 04/18/2018 Melodyne 4 Editor
    user manual Last updated on 04/18/2018 Melodyne 4 editor The Melodyne Help Center and this PDF document This PDF document was generated automatically from the contents of the Melodyne Help Center. It contains what, on the date indicated on the front page, were the latest versions of the text and images. You will find the comprehensive and invariably up-to-date Melodyne Help Center along with numerous films and inspiring tutorials, as well naturally as the latest version of this PDF document, on our web site. Why not take a look? Just follow the link at the foot of each page of this PDF. Editing Transferring audio (plug-in) How Melodyne works • Transferring audio to the plug-in implementation of Melodyne • Replace Ranges Working with ARA Track Mode • Clip Mode • Switching from Track Mode to Clip Mode and from clip to clip • Local playback in Melodyne • Tempo and tempo adjustment with ARA integration • Tempo and the Time Grid • Quantizing notes • Copying and pasting notes • The Compare switch Loading and saving audio (stand-alone) Tempo adjustment when audio files are loaded • Loading files from the menu • Loading files by drag 'n' drop • The File Browser • Saving audio: the Export window • The 'Replace Audio' command Recording audio (stand-alone) Audio and recording preferences • Handling the tempo and the metronome • Enabling, starting and stopping recording © Celemony Software GmbH 2018 • Last updated on 18.04.2018 • Help Center • www.celemony.com 2 Melodyne 4 editor Audio characteristics and algorithms The detection process • The Melodic
    [Show full text]