Celemony Melodyne Editor Review

Ever since the creation of the first DAW, no other software has caused so much ink to be spilled and generated such expectations. The Direct Note Access technology, which was introduced by Celemony at Musikmesse 2008, is one of those holy grails no one ever thought to be accessible because it allows you to edit single notes of a polyphonic audio recording. Is it some sort of de-mixing? Yes and no! Is it a revolution? You bet!

Before we dive into the innards of the program, a brief summary about Melodyne is necessary for those of you who don’t know it yet. Celemony created Melodyne in the wake of the Antares Autotune, which allowed you to edit the pitch of an audio recording. Melodyne worked under the same principles (pitch shifting and time stretching with formant control) within an interface conceived for musicians instead of sound engineers. After detecting the notes, you had several tools for pitch, time and amplitude correction, so you could actually edit audio recordings as easily as MIDI parts, under one condition: the audio recording had to be monophonic. The software’s excellent algorithms and idiot-proof user interface gave lots of product ideas to their partners (like Ueberschall, who developed customizable loop banks for the Melodyne engine) and competitors. For instance, Autotune got a new user interface (see the Autotune EVO), several competitors appeared (Waves Tune, Zplane) and the main audio sequencers integrated Melodyne-like functions (Steinberg introduced VariAudio in Cubase 5 and Cakewalk did the same with AudioSnap for Sonar).

While competitors were still trying to catch up with the first Melodyne, Celemony changed the game again by offering individual note editing in polyphonic recordings. During the product presentation at Musikmesse, Melodyne’s boss had a blast changing a guitar minor chord into a major chord using a simple MIDI keyboard. And to top that, he also modified the trumpet of a Miles Davis recording without changing the double-bass or the drum part. Impressed? There are no words to express it. The presentation of the product had such an impact that some people thought it was a hoax. That, together with the time it took for the official release to come out raised serious doubts among the audio community. But…

Melodyne Editor, the first software using Direct Note Access technology (DNA) has finally hit the stores. And it works…

On Familiar Ground

The installation is extremely easy. You will only need the serial number to activate it online on Celemony’s website. The software is protected in two different ways: either you activate the product online, in which case the registration is limited to only one computer (you’ll have to uninstall it first before installing it on another computer) or you transfer your license to an iLok key. Once you did that you can start your sequencer (I work with Cubase) and look for Melodyne Editor in your plugin list.

Users of previous Melodyne versions, especially those who had the plugin version, won’t feel too estranged at first sight. The user interface (the look and layout) didn’t change much. Under the Settings, Edit, Algorithm, View, and Help menus, you’ll still find the aluminum-like bar hosting the basic parameters. Most of the interface is made up of a sort of piano-roll grid displaying yellow, orange and red events… On the right side, you’ll still find the “Correct Pitch” and “Quantize Time” buttons, as well as three automation-capable controllers that allow you to play with the pitch, the formant or the volume parameters in real time. On the center of the tool bar you’ll find the Undo/Redo icons and the tool box (with the same old icons): from left to right, you’ll find six tools for selection/zoom/scroll, pitch editing (with modulation and drift parameters – a sort of audio pitch bend), formant editing, volume editing, timing editing and note separation editing.

Right below these icons, there are two fields that display the note detected in the segment selected and its distance to the correct note. Finally, on the left side of the bar you have the transfer parameters. Just like with the first plugin version, the first thing you have to do is start the detection process: once Melodyne is inserted in the track that is to be processed, click on the transfer button and start playback in the sequencer. Depending on the algorithm you selected in the “Algorithm” menu, Melodyne analyzes the audio material and generates events on the grid. There are three algorithms available: monophonic (melodic), rhythmic/unpitched and polyphonic. In this review, we will focus on the latter since the two others are already known from the Melodyne plugin.

Before we get into details, we have to mention that, unlike the first Melodyne plugin, you can fully resize the program window and freely zoom in/out via shortcuts. It would have been perfect if it had a button to switch into full-screen mode with a single click…

Now let’s take a look under the hood…

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Conclusion

Melodyne Editor is indeed the revolution we expected, thanks to its DNA technology. The algorithm is not infallible and (still?) doesn’t allow to entirely de-mix a song. Nevertheless, there has not been such an exciting invention in the audio industry ever since the creation of Autotune – and the invention of samplers before that. Melodyne is available for a very affordable price considering the huge R&D efforts Celemony had to make to achieve these results.

While we wait for a more comprehensive version that includes MIDI export of the detected notes, we strongly recommend Melodyne Editor to sound engineers (to repair an acoustic guitar recording when the guitarist already left the studio), to musicians who work with loops (and never find the right sample in the right key) and to all sound designers. You will undoubtedly have lots of fun discovering the huge possibilities it provides. However, there is still one thing that remains unclear: what happens to the copyright of the processed samples? If I change all the notes of a Miles Davis phrase, will he still be the owner of the melody I use in my song?

To wrap it up, if I were to have only one gift under the Christmas tree, I’d ask for this one!

Advantages:

• Technological feat that revolutionizes audio editing and sampling
• Ease of use
• Stunning results when used for the right application
• Price (considering the R&D investment)
• Amusing and creative tool
• One of the best monophonic time-stretching & pitch-shifting tools, maybe even the best…

Drawbacks:

• CPU consumption: you’ll have to bounce!
• Left and right channels cannot be edited separately
• Not multitimbral
• Disappointing results with some audio material

To read the full detailed review including sound samples see:  Celemony Melodyne Editor Review

Steinberg Cubase 5 Review

Introduction

Cubase, one of the titans of the sequencer pantheon, has come out with an attractive looking 5th version, at a time when the sequencer wars are raging more than ever. Let’s take a look…

One of the oldest sequencers, along with Logic (old-timers may remember the golden era of Pro 24 and Notator), Cubase has over the years, imposed numerous ergonomic, technological, and conceptual standards on the competition. Releasing a new version of Steinberg’s flagship software is still an event in itself, although it must be admitted that today, the pretenders to the throne of the king of sequencers are quite numerous. As a result, innovation and excellence are no longer unique to Cubase and, without even mentioning other sequencer heavy-weights (Logic, Sonar, Pro Tools, Samplitude, Digital Performer and Ableton Live), the last decade has seen many new challengers, with varying price tags and popularity, but packed with great features: Fruity Loops, Melodyne, Tracktion, Energy XT, Reaper … In a market as competitive as this, it’s obviously increasingly difficult to stand out. Cubase 4 had its critics even though it launched the VST3 standard, brought its effects and virtual instruments up to date, inaugurated a new media management system and you could finally move effects from one track to another by drag & drop. But it seemed more like they were trying to catch up to the competition rather than really innovating … Even the more original innovations, like management of external hardware (particularly Yamaha’s, since the Japanese manufacturer had recently bought Steinberg) and the emergence of control room targeted features were interesting, but did not effect all users and therefore didn’t necessarily justify the increased software price: around $879! Fortunately, when the impressive Logic 8 came out for around $500 it forced Steinberg to rethink its rates and marketing strategy: you can now find Cubase 5 for around $500! With relatively interesting updates: 4.1 and 4.5 (side chain management for their effects, better routing management, additional sound banks for HALionOne, etc..), and this 5th version, Steinberg is doing its best to seduce us. Let’s get into details…

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Conclusion

Cubase 5 is undoubtedly a success and shows progress in several areas. More user-friendly, more powerful and better equipped, Steinberg’s baby is alive and well! Sure, we’d always like to have more (especially virtual instruments), but features like VariAudio, VST Expression, Tempo/Signature tracks, or the multitrack export feature make this an essential update. To the question “Should you upgrade from version 4 or lower”, the answer is a 1000 times yes, but keep in mind that the Studio version of the software doesn’t include (and it’s an important point) VariAudio, amongst other things.

If however, you don’t have a sequencer or you intend to change, the problem is more difficult because after a quick web surf, it was pretty surprising to find out that no brands except Magix, Cakewalk and Ableton, have demo versions of their sequencers! And it’s a shame that you can’t try before you buy at a time when the differences between sequencers is often summed up by a few features and different work-flows. But, speaking as an unconditional Cubase user these past fifteen years, I can’t recommend Cubase 5 enough…

Positives:

A penalty goes to Propellerhead for still not addressing the 64-bit ReWire and Rex format issue

• Full 64-bit!
• VariAudio, efficient and fully integrated.
• VST Expression.
• Finally there’s a multitrack export!
• Finally a hi-quality reverb!
• Tempo and signature tracks, so much easier…
• A complete all-in-one solution.
• Printed manuals and video tutorials.
• Groove Agent One, simple and effective.
• Loopmash
• The automation panel
• The concept of an iPhone application to control the sequencer

Drawbacks:

• No sampler, no organ, no piano outside of the presets in HALion One
• Synthesizers that aren’t up to par with the competition

To read the full detailed exclusive article see:  Steinberg Cubase 5 Review

Ableton Live 8 Suite: The Test

Long LIVE Ableton
Ableton Live 8: The Test

Ableton’s Live has been with us for some time now and since it’s initial release in 2001 it has proudly sported a simple one window interface and transparent ’no frills’ operation. This simplicity initially led some producers and musicians to believe it was perhaps a step down from other more complex DAWs, but seven years down the line Live has more than stood the test of time.

Many musicians, engineers and DJs have now adopted Live as their primary production or performance environment and Ableton is now onto an impressive eighth major release. Their constant development of the application is also relentless with version 8.01 of Live being released only weeks ago, which sees stability and workflow further improved.

Live has never been short of virtual instruments, hardware quality effects and cool production tools but each major release manages to expand this sequencer’s inventory, and version 8 is certainly no exception. With a brand-new virtual instrument, updates to the interface, new production tools, extra effects and even an expanded sample library, the folks at Ableton certainly aren’t running out of ideas.

How Suite it is

Live now comes in three different versions: Live LE (medium), Live (Large) and Ableton Suite (XL). Live LE is essentially a cut down version of Live for the entry level user or budget conscious beginner and is limited in some areas such as number of tracks and effects that can be used. Live and Ableton Suite are pretty much the same core application but the Suite contains a pretty large sample library (including the new Latin Percussion collection) and you will also get all ten virtual instruments that Ableton offers for the higher price tag.

Let’s take a look at the major changes and hear some audio examples of them in action to see if this new update is a step in the right direction…

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Conclusion

This is a really major release for Live and although the application remains the same at first glance the changes could literally change the way you use it. What could be a new set of toys to the seasoned user, could potentially be the feature that convinces the new user to switch.

Installation is a breeze and can be completed by download without the need for any dongles or iLoks. Activation is an automatic process that takes a matter of minutes so you’ll be up and running in no time. So if you haven’t checked it out already then do yourself a favour and upgrade or a least test drive the demo.

Feature rich update
Very cost effective (from €49 to Live 7 users to €549 for full Ableton suite)
Exciting new effects processors and instruments
Long list of interface and workflow enhancements

Overall interface and metering may be a little basic for some pros
Lack of support for multiple monitors maybe an issue for some

To read the full detailed article see Ableton Live 8 Review

Musikmesse: PreSonus Studio One

Presonus shows us their new Studio One sequencer.

For more Musikmesse videos and news visit Audiofanzine Musikmesse

Musikmesse 2009: Cakewalk V-Studio 100

Cakewalk presents their new V-Studio 100 at Musikmesse 2009.

For more Musikmesse videos and news visit Audiofanzine Musikmesse

Video Demo: Cakewalk Sonar V-Studio 700

A detailed presentation of the Cakewalk Sonar V-Studio 700 control surface, audio interface and software sequencer package.

To watch all NAMM 2009 video demos visit us on Audiofanzine NAMM 2009.

Review: Digidesign Transfuser

Sample Transfusion
Digidesign Transfuser: The Test

A.I.R., Digidesign’s virtual instrument division, continues to provide creative tools for users of their Pro Tools software. This time, it’s a sequencer within a sequencer, dedicated to loops of all kinds and their unlimited use. Let’s take a look…

Presentation

There’s a big box, a DVD, an activation number. Download the iLok license key, install the sound bank (requiring 1.65 GB of disk space) and RTAS plugin, nothing complicated, it’s Mac and PC compatibility, but you must (still …) have Pro Tools (LE, M-Powered or HD, from version 7) and it’s done. Then all you have to do is open the instrument in a session. Let’s take a look at its interface and how it works.

The idea is to create Tracks within Transfuser. These tracks, which bring together several modules, read audio files (according to various processes). On the left, there’s a browser pane that can be used to load Tracks (complete ensembles) or audio (separate sounds to build your own loops), whether factory or user-created. You can preview a sound by clicking on the file, preview lasts as long as you hold down the mouse, or, if Latch is enabled, for the duration of the file. A sync option synchronizes preview to the Pro Tools session tempo. There’s also a pitch and volume setting which can be adjusted as you preview. And lastly there’s a filtered search field that searches for all items in the list that match the typed-in criteria.

At the top there’s the area to which you drag and drop complete Tracks and audio files from the browser, Pro Tools region list, Pro Tools audio tracks, or the desktop (or a folder) of your computer. Either you import Tracks, in which case the modules are directly positioned, or you import audio, which opens a window offering the choice between three types of recognition/import: Sliced Audio and Slice Sequence, Time-Stretch Audio and Trigger Sequence, or Drum Kit and Drum Sequence (we’ll come back to these three types of Tracks later on). Corresponding modules will be opened in this section. Note that you can also use an external audio signal (more on this later).

Now let’s take a closer look…

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Conclusion

Though Structure, Hybrid, Velvet or Strike may do their jobs perfectly, there’s nothing revolutionary about them (sampling, synthesis, emulation of electromechanical keyboards and Drumstations). Transfuser, without being completely revolutionary, does have a real concept, and can claim to be the first totally original VSTI by AIR. It’s definitely the most complete instrument geared at loop-based music at present. The number of tracks and effects available let you do almost everything necessary solely within it. To get the most out of it nevertheless requires a certain amount of learning time. The use of external controllers is also particularly well thought out.

This opens up new horizons within Pro Tools, particularly for live settings. This may seem strange, to say the least, since Digidesign software is largely studio geared. But you can also see a pattern (or strategy) developed for live musicians and DJs that started with the Mbox Micro, both of which are also being offered in bundles.

Pro Tools on stage? Is it possible? The competition is fierce, from Live to Mainstage, Usine to Reason, Receptor to SM Pro … Digidesign’s version would really have to deliver, seeing how it’s Pro Tools exclusive. There’s no problem recognizing that Transfusion, which is extremely comprehensive and powerful (you’ll need a powerful computer for prolonged use) is up to the challenge. Especially since it’s use in the studio is equally handy for working with loops.

Its concept
Its three modes
Comprehensive Drum Machine
Pitch and time stretch Algorithms
Worlfkow despite its power and complexity
Midi Learn and automation everywhere
Well adapted for live settings
Audio
Drag’n'Drop Audio and Midi
Internal audio recorder
20 quality effects included
Effects are applicable just about everywhere
Numerous presets, Sequences with effects
Loop library

Info is sometimes difficult to read
Slice screen is too small
Doesn’t import MP3, AAC, CAF, Apple Lossless
Resource hog
Pro Tools only …

To read, the full detailed article see:   Digidesign Transfuser Review

NAMM 2009: Video Demo Spectrasonics Trilian

Exclusive presentation of Spectrasonics Trilian, Trilogy’s successor, by Eric Persing.

Part 1

Part 2

To watch all NAMM 2009 video demos visit us on Audiofanzine NAMM 2009.

NAMM 2009: Video Demo Major update for Spectrasonics Stylus RMX 1

Eric Persing from Spectrasonics goes through a bunch of new features included in the new 1.7 update for Stylus RMX.

Part 1

Part 2

To watch all NAMM 2009 video demos visit us on Audiofanzine NAMM 2009.

Test: Yamaha Tenori-On Review

Unidentified Musical Object
Yamaha Tenori-On: The Test

In the world of electronic instruments, when you think innovation, the name Yamaha rarely comes to mind! Yet this Japanese company was the creator of the first FM synthesizer, the DX7. So just to show you that that they can still innovate, Yamaha has created the Tenori-On, a sort of UMO (Unidentified Musical Object) halfway between a musical instrument and a portable game console.

At first glance, it’s tempting to compare the Tenori-On with devices that look similar like certain MIDI controllers (Monome for example). Although its 16×16 button grid might make you think this, the Tenori-On offers much more than just a MIDI controller. It’s a tone generator, a sequencer with multiple modes, and a sample reader all in one. The Tenori-On therefore has much more to it than just what the buttons might lead you to think…

A bit of its back history and philosophy

Originally, the Tenori-On concept was developed by a member of Yamaha’s R&D department (its motorcycle section!) in his free time … Once the basics were well established, Toshio Iwai (the illustrious creator of ElectroPlancton for Nintendo DS) finalized the instrument. Though he’s adept at audio and visual experiences, Toshio Iwai is not really a musician. That’s why one of the basic axioms of the Tenori-On is that it is not designed specifically for musicians, but also geared towards visual performances as well as audio. Therefore, as we’ll see, the instrument is missing some features that can be found almost everywhere else. This does not stop it however from offering innovative performance modes and work flow.

Now let’s take a closer look…

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Conclusion

The Tenori-On really stands out from the rest, both with it’s very limited features in some aspects, and its completely innovative ones in others. What destabilizes the average musician is that they soon realize that it isn’t made primarily for musicians. There are large functional gaps that are obvious to aficionados of electronic instruments: it’s impossible to edit sounds, basic management of samples, etc.. You must therefore change your way of thinking and let yourself be guided by the instrument, approaching it visually as well as sonically. The different performance modes open up new perspectives and fortunately MIDI capability expands the possibilities of the device. But innovation and originality have a price. At $1200 MSRP, even if the manufacturing quality is very good, its limitations will start to be felt by your wallet. But it has a “endearing” quality to it that’s non negligible, and has been adopted by many artists, including Bjork. So a final verdict is very much based on subjectivity. Either you’ll enter fully into the strange world of Tenori-On, accepting its limitations, or you’ll fall back on something a bit more classic. I have chosen: I’m a fan! and you?

Lots of fun
An unusual and original instrument
Innovative performance modes
Easy learning curve
A real “sound and light show” when used live

A lot of limitations and functional gaps
Sample player is a bit basic
Sounds: Either you love them or hate them
Pricey despite a very nice look and its manufacturing quality

To read the full, detailed article see:   Yamaha Tenori-On Review