Vocals and Melodyne —
that's state-of-the-art. But even the best things can be improved. Our legendary vocal algorithm
now offers even more possibilities delivering exceptionally
musical results in far less time. Sibilants appear in all lyrics. Here, for instance, there’s an S
at the beginning of the word. And here's another. These and sounds like them are
detected automatically by Melodyne 5 and indicated by hatching. And they can be controlled
separately from the rest of the word. You can just get rid of them... or the reverse: silence the vowels
and leave only the S's. When you stretch notes, S's aren't affected.
Only the vowels are lengthened. That’s exactly how the singer herself would do it. And what about pitch? If the singer wanted to sing this phrase higher, she wouldn’t think about
the vowels and the sibilants separately. She’d just sing the whole thing higher. But wait a minute. Would she really
sing everything higher? This might be our musical impression. But in fact, sibilants have no pitch. The human voice isn’t capable
of altering their frequencies. So you can’t sing an S higher or lower. It’s this, the natural behavior of the human voice,
that Melodyne 5 now emulates automatically. You don't have to do anything. Sibilants appear to move with the rest of the note. That’s just so the eye can follow the melody more easily. But acoustically Melodyne leaves any S's unchanged, whatever the new pitch of the note. So it all sounds natural. Breaths, too, are given special treatment. This one, for example. Here too, when pitch-shifting occurs,
the only change is visual, not acoustic. With timing, though, it’s a different story. Melodyne doesn’t draw out sibilants
or unvoiced consonants because no singer ever does that. But singers do take shorter breaths
when notes follow in quick succession. So Melodyne does adjust the length of the breath between two notes, when the space between them is reduced. With Melodyne 5, you save
an enormous amount of time. Before, you had to isolate every
sibilant by hand from the rest of the word. One by one, throughout the song. A whole lot of mouse clicks! No more need for that. Now you just double-click, and Melodyne does the rest. Even the smallest edition, Melodyne essential,
treats sibilants with the same sensitivity and realism as Melodyne studio,
when the pitch or timing are changed. And from Melodyne assistant up, you can control the volume of sibilants individually. And incidentally, this gives you the perfect de-esser. Intervene directly to control problematic S’s without all that time-consuming
fiddling about with automation. Or you can de-ess an entire passage, like this. And unlike conventional de-essers,
you really do only change the S’s – with no side effects whatsoever
on the rest of the vocal sound. In Melodyne 5, the vocal algorithm
has gained in musicality in other ways, too. Now, instead of taking a simple average, Melodyne is judging a note the same way
someone with a trained ear would. How so? When a note sounds wrong, it isn’t necessarily because its overall pitch
is too high or too low. In fact, what grates is
that it’s out at a specific moment. Sometimes at the beginning... Sometimes at the end... and sometimes in between. But as long as it's crucial spot is in tune, the entire note will sound right. Any fluctuation before or after
doesn't much matter. To the contrary, it adds life
and sounds natural. Melodyne now locates for you
the decisive moment within each note. And instead of basing the display on the average pitch
of the note throughout its lifetime, as it did previously, it now focuses
on the one moment that matters. So when you double-click on a note,
you obtain the musically correct result. The macro, too, profits from this musical approach, placing every note perfectly in tune. Still sounding natural and alive. And of course the Macro knows exactly where the breaths,
sibilants and other unvoiced consonants lie and leaves their sound untouched. Professional results, then, with a few – very few – mouse clicks.
