![]() The only possible fly in this particular ointment concerns backwards compatibility. Whether you buy Studio, Editor, Assistant or Essential, you’ll be using Melodyne 4, and the hierarchy of functionality between them should now be much more logical there’s nothing in Melodyne Editor 4 which isn’t also in Melodyne Studio 4. So the first thing to be noted about the new versions is that it brings all of the different flavours of Melodyne back into sync. If, like most Melodyne users, you work mainly with Melodyne Singletrack or with the plug–in, you’ll still be using a point release of v2. Over time, however, Melodyne Studio evolved in a rather different direction from the rest of the range, and the answer to the question “What happened to Melodyne 3?” is that the Melodyne Studio application was the only one to receive an official v3 release. Those who didn’t need polyphonic pitch-correction, meanwhile, could avail themselves of the cut–down Melodyne Assistant and Melodyne Essential versions. This comprised a stand–alone Melodyne Singletrack application and a plug–in version which would typically be used as an insert effect within a DAW. However, for some reason, Melodyne Studio never included the polyphonic DNA technology, and relatively few users needed its multitrack capabilities, so most opted instead for the more affordable and DNA–equipped Melodyne Editor package. The flagship application was the stand–alone Melodyne Studio, a multitrack audio recording and processing environment which could be linked to a DAW either using ReWire or through a special Melodyne Bridge plug–in. ![]() Melodyne 2 was available in several different editions. ![]() This was the release that introduced Celemony’s landmark DNA technology, and it’s a mark of how advanced their algorithms are that, more than six years later, Melodyne is still almost unique in its ability to manipulate individual notes within a polyphonic audio recording after the fact. The first question on some readers’ lips is likely to be “What happened to Melodyne 3?” The last full release of Melodyne to be reviewed in SOS was Melodyne 2, as long ago as December 2009. Without wishing to give too much away now, I think it’s fair to say that this is not your average software update. A couple of months down the line, it’s ready to be unleashed on the world, and if anything, I’m even more impressed. Just occasionally, however, a product comes along that is genuinely revolutionary, and when Celemony first showed me a beta of Melodyne 4, it was immediately obvious that they had come up with something a bit special. Many of the non–disclosure agreements we sign are about things so dull that no–one would have bothered to disclose them anyway. Now, revolutionary features in version 4 promise to make tempo and timbre equally fluid.Ĭan you keep a secret? In the world of music technology, it’s usually not all that difficult. “We are very proud as a small Munich software house to be granted such a notable international recognition for our work,” said Neubäcker, receiving the award together with his three partners in Los Angeles.Musical pitch has always been putty in the hands of Melodyne. He also thanked the Recording Academy, the Celemony team, the company’s many friends and, of course, all the users of the software Melodyne. In his acceptance speech, Peter Neubäcker alluded to his philosophical and mathematical background, explained his own, singular vision of music, and described the beginnings and the spirit of the company. After all, Celemony has blazed open a radically new avenue of access to musical editing that for ten years now has made it impossible to imagine music production without it. Host and Grammy manager James McKinney opened with the legendary question posed long ago by Melodyne inventor Peter Neubäcker: “What does a stone sound like?” A truly philosophical approach to the world of sound technology, far away from the purely technical thought-processes that typically prevail in the industry, and yet it is for precisely that reason Celemony was chosen to receive this year’s Technical Grammy. The first of the Special Merit Awards to be presented went to the Munich software house Celemony. And perhaps also the strangest,” commented Melodyne inventor Peter Neubäcker. I believe our company is the smallest ever to have received a Technical Grammy. “This is an honor none of us ever expected. ![]() The highest award in the music business is given in recognition of “contributions of outstanding technical significance to the recording field” and is equivalent to an Oscar in the film industry. On February 12, 2012, we have been honored by the Recording Academy as the first German software manufacturer with a Technical Grammy. ![]()
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