The fine folks at Celemony just released Melodyne, their polyphonic audio note editor. Yes, you heard me right: you can now edit audio clips the way you edit MIDI! Once only a distant figment of my imagination, this feature is now actually a reality.

What will this mean? Well, for one, it will be easier to correct an acoustical performance. If you wanted to alter a chord of a recorded piano performance for example, it will be easier than ever. You can just load up that recording in Melodyne and drag around individual notes in a chord to reassign their pitch and time position. Somehow, a magic algorithm doctor made the special voodoo needed to make it possible.

It’s mind boggling, really. See for yourself in this nifty video.

I really think this is going to be pretty revolutionary for sampling. I don’t personally sample other artists (even though I’d love to) because I don’t want to hire a lawyer for the clearances. (Also I’m a chicken.) But I do know that some artists like to grab a snippet and alter it so much that nobody will ever know where it came from. This will be a godsend for them, and not just to make the sample fit their track better… If one was in court, suing for sample usage, and the sample that was used had completely different notes and timing — it would be hard to prove that someone ’stole’ the awesomeness from a prior track. And at the very least, it would make the case pretty interesting.

Some advances you just know will mark a watershed moment in production technology. This might just be one of them.

Acessem nosso novo site

www.cursoonlive.com.br

Jag har nu löst problemet med att GarageBand kraschar efter det att man har installerat Melodyne.

Efter att ha meckat runt med de båda programmen, valde jag att installera om dem och börja mecka från scratch, men det fungerade givetvis fortfarande inte.

Den här tråden pin-pointade däremot problemet perfekt:
http://discussions.apple.com/thread.jspa?threadID=1208015

Man måste alltså gå till:
Macintosh HD/Library/Applications Support/Propellerhead Software/ReWire/
och ta bort båda Melodyne-filerna som ligger där. That’s it…man behöver inte göra någonting förutom detta (eller snarare, jag behövde inte göra någonting förutom detta).

Jag har en riktigt jobbig stund med att få mina applikationer att fungera.

När jag till en början installerade GarageBand och drivrutinerna för mitt E-MU-ljudkort, fungerade allt bra. Men…när jag därefter installerade Melodyne Essentials, slutade GarageBand att fungera helt.

Jag har läst runt i diverse forum och ser att folk har samma problem, som jag – nämligen med följande del i GB:s uppstartsprocess: propellerheads.rewire.library och MelodyneEssentialRewireDevice.

Så, vad att göra? Jo, jag tog givetvis bort Melodyne och hittade även tips om att ta bort diverse GarageBand-filer, reparera skivbehörigheter etc…men ingenting fungerar! Jag har till och med ominstallerat GarageBand, men utan resultat.

Trots att jag har tagit bort alla Melodyne- och Propellerhead-komponenter från datorn (jag har även letat bland alla gömda filer), försöker GB fortfarande ladda dessa två komponenter när det startar, vilket får uppstarten att krascha.

Är det någon som har haft samma problem? Här är den fulla kraschrapporten:


Process:         GarageBand [1671]
Path:            /Applications/GarageBand.app/Contents/MacOS/GarageBand
Identifier:      com.apple.garageband
Version:         4.0.0 (221)
Build Info:      GarageBand_App-2210000~6
Code Type:       X86 (Native)
Parent Process:  launchd [111]

Date/Time:       2009-10-18 10:33:35.046 +0200
OS Version:      Mac OS X 10.6.1 (10B504)
Report Version:  6

Interval Since Last Report:          59906 sec
Crashes Since Last Report:           22
Per-App Interval Since Last Report:  3499 sec
Per-App Crashes Since Last Report:   2
Anonymous UUID:                      8271FEB8-F84D-49CA-9C63-709EF7BEE648

Exception Type:  EXC_BAD_ACCESS (SIGBUS)
Exception Codes: KERN_PROTECTION_FAILURE at 0×0000000000000000
Crashed Thread:  10

Thread 0:  Dispatch queue: com.apple.main-thread
0   libSystem.B.dylib                 0×9678273a sem_wait$NOCANCEL$UNIX2003 + 10
1   …lodyneEssentialRewireDevice    0×191c2efc GNCondition::waitForSignal() + 32
2   …lodyneEssentialRewireDevice    0×191c9207 GNMessagePort::registerMessagePortWithName(GNString*, GNData* (*)(GNMessagePort*, GNData*), int, int, GNDictionary*) + 315
3   …lodyneEssentialRewireDevice    0×191bc1a6 GNReWire2AudioDeviceHost::create() + 172
4   …lodyneEssentialRewireDevice    0×191ba327 RWDEFOpenDevice + 89
5   …opellerheads.rewire.library    0×1913f84e 0×1913b000 + 18510
6   …opellerheads.rewire.library    0×1913f9b8 0×1913b000 + 18872
7   …opellerheads.rewire.library    0×191428e0 RWPUnregisterDeviceImp + 5438
8   …opellerheads.rewire.library    0×19140689 RWM2OpenDeviceImp + 57
9   com.apple.garageband              0×00c878d9 0×1000 + 13134041
10  com.apple.garageband              0×00786f53 0×1000 + 7888723
11  com.apple.garageband              0×004925d7 0×1000 + 4789719
12  com.apple.garageband              0×0049ba31 0×1000 + 4827697
13  com.apple.garageband              0×00370aa0 0×1000 + 3603104
14  com.apple.garageband              0×00371540 0×1000 + 3605824
15  com.apple.garageband              0×0033c186 0×1000 + 3387782
16  com.apple.garageband              0×002535f7 0×1000 + 2434551
17  com.apple.garageband              0×00064e9d 0×1000 + 409245
18  com.apple.garageband              0×00064507 0×1000 + 406791
19  com.apple.Foundation              0×933872fc _nsnote_callback + 345
20  com.apple.CoreFoundation          0×93f7ec29 __CFXNotificationPost + 905
21  com.apple.CoreFoundation          0×93f7e65a _CFXNotificationPostNotification + 186
22  com.apple.Foundation              0×9337c120 -[NSNotificationCenter postNotificationName:object:userInfo:] + 128
23  com.apple.Foundation              0×933894fd -[NSNotificationCenter postNotificationName:object:] + 56
24  com.apple.AppKit                  0×9809a9b9 -[NSApplication finishLaunching] + 493
25  com.apple.AppKit                  0×9809a3b5 -[NSApplication run] + 79
26  com.apple.AppKit                  0×98092735 NSApplicationMain + 574
27  com.apple.garageband              0×0017a9b9 0×1000 + 1546681
28  com.apple.garageband              0×00003a52 0×1000 + 10834
29  com.apple.garageband              0×00003979 0×1000 + 10617

Thread 1:  Dispatch queue: com.apple.libdispatch-manager
0   libSystem.B.dylib                 0×9673203a kevent + 10
1   libSystem.B.dylib                 0×96732768 _dispatch_mgr_invoke + 215
2   libSystem.B.dylib                 0×96731bf9 _dispatch_queue_invoke + 183
3   libSystem.B.dylib                 0×9673198a _dispatch_worker_thread2 + 234
4   libSystem.B.dylib                 0×96731401 _pthread_wqthread + 390
5   libSystem.B.dylib                 0×96731246 start_wqthread + 30

Thread 2:
0   libSystem.B.dylib                 0×96731092 __workq_kernreturn + 10
1   libSystem.B.dylib                 0×96731628 _pthread_wqthread + 941
2   libSystem.B.dylib                 0×96731246 start_wqthread + 30

Thread 3:
0   libSystem.B.dylib                 0×96731092 __workq_kernreturn + 10
1   libSystem.B.dylib                 0×96731628 _pthread_wqthread + 941
2   libSystem.B.dylib                 0×96731246 start_wqthread + 30

Thread 4:
0   libSystem.B.dylib                 0×96739782 __semwait_signal + 10
1   libSystem.B.dylib                 0×96765621 nanosleep$UNIX2003 + 188
2   libSystem.B.dylib                 0×9676555f usleep$UNIX2003 + 61
3   com.apple.AppKit                  0×982421d1 -[NSUIHeartBeat _heartBeatThread:] + 2039
4   com.apple.Foundation              0×93387964 -[NSThread main] + 45
5   com.apple.Foundation              0×93387914 __NSThread__main__ + 1499
6   libSystem.B.dylib                 0×96738f39 _pthread_start + 345
7   libSystem.B.dylib                 0×96738dbe thread_start + 34

Thread 5:
0   libSystem.B.dylib                 0×96731092 __workq_kernreturn + 10
1   libSystem.B.dylib                 0×96731628 _pthread_wqthread + 941
2   libSystem.B.dylib                 0×96731246 start_wqthread + 30

Thread 6:
0   libSystem.B.dylib                 0×9670b822 semaphore_wait_signal_trap + 10
1   libSystem.B.dylib                 0×967393d8 _pthread_cond_wait + 1089
2   libSystem.B.dylib                 0×9678270f pthread_cond_wait + 48
3   com.apple.garageband              0×008729c4 0×1000 + 8853956
4   com.apple.garageband              0×00872a8b 0×1000 + 8854155
5   libSystem.B.dylib                 0×96738f39 _pthread_start + 345
6   libSystem.B.dylib                 0×96738dbe thread_start + 34

Thread 7:
0   libSystem.B.dylib                 0×9670b822 semaphore_wait_signal_trap + 10
1   libSystem.B.dylib                 0×967393d8 _pthread_cond_wait + 1089
2   libSystem.B.dylib                 0×9678270f pthread_cond_wait + 48
3   com.apple.garageband              0×008729c4 0×1000 + 8853956
4   com.apple.garageband              0×00872a8b 0×1000 + 8854155
5   libSystem.B.dylib                 0×96738f39 _pthread_start + 345
6   libSystem.B.dylib                 0×96738dbe thread_start + 34

Thread 8:
0   libSystem.B.dylib                 0×9670b83a semaphore_timedwait_signal_trap + 10
1   libSystem.B.dylib                 0×967393c1 _pthread_cond_wait + 1066
2   libSystem.B.dylib                 0×96768208 pthread_cond_timedwait_relative_np + 47
3   com.apple.audio.CoreAudio         0×936aaec1 CAGuard::WaitFor(unsigned long long) + 219
4   com.apple.audio.CoreAudio         0×936adef3 CAGuard::WaitUntil(unsigned long long) + 289
5   com.apple.audio.CoreAudio         0×936ab7f0 HP_IOThread::WorkLoop() + 1892
6   com.apple.audio.CoreAudio         0×936ab087 HP_IOThread::ThreadEntry(HP_IOThread*) + 17
7   com.apple.audio.CoreAudio         0×936aaf9e CAPThread::Entry(CAPThread*) + 140
8   libSystem.B.dylib                 0×96738f39 _pthread_start + 345
9   libSystem.B.dylib                 0×96738dbe thread_start + 34

Thread 9:
0   libSystem.B.dylib                 0×9670b822 semaphore_wait_signal_trap + 10
1   libSystem.B.dylib                 0×967112e6 pthread_mutex_lock + 490
2   …opellerheads.rewire.library    0×1916170d RWPUnregisterDeviceImp + 131947
3   …opellerheads.rewire.library    0×19145f68 RWPUnregisterDeviceImp + 19398
4   …opellerheads.rewire.library    0×191467d4 RWPUnregisterDeviceImp + 21554
5   …opellerheads.rewire.library    0×19161a5c RWPUnregisterDeviceImp + 132794
6   libSystem.B.dylib                 0×96738f39 _pthread_start + 345
7   libSystem.B.dylib                 0×96738dbe thread_start + 34

Thread 10 Crashed:
0   ???                               0000000000 0 + 0
1   …lodyneEssentialRewireDevice    0×191e26ab GNThreadHandler(void*) + 103
2   libSystem.B.dylib                 0×96738f39 _pthread_start + 345
3   libSystem.B.dylib                 0×96738dbe thread_start + 34

Måndagen den 5:e oktober 2009 påbörjar jag min pappaledighet, och vad vore väl inte bättre i höst-, regn- och rusktider än att skaffa sig ett ambitiöst projekt som man kan misslyckas med att företa sig när Cornelia sover

Sedan jag hoppade av mitt senaste band, dEEd, inför Cornelias födelse, har jag spelat en hel del hemma, men inte på långa vägar lika seriöst som jag har gjort i tidigare band. Jag har dock skrivit en del som vore roligt att spela in.

Så, den här bloggen kommer att handla om allt som har med min hemstudio att göra. Det är en mycket begränsad “studio”, som består av följande:

Instrument

• 1 halvack 6-strängad Yamaha med tunn kropp (låter skiit)
• 1 halvack 12-strängad Yamaha med tjock kropp (låter fint)
• 1 Epiphone Les Paul
• 1 Höfner Veri-thin
• Diverse munspel
• Diverse percussion
• Rock Band-trumset (funkar bra, ska ni se

Hårdvara

• E-MU Tracker Pre USB 2.0 – externt ljudkort
• JJLabs SKEC010B – kondensatormick
• Line 6 Pocket POD – gitarreffektdosa

Mjukvara

• GarageBand
• Cubase LE4
• Melodyne Essentials
• Bundlad mjukvara för E-MU Tracker Pre

Som ni ser är det inte världens hetaste prylar, men det ska bli intressant att se hur det går att använda dem för att få ihop någonting som kan låta som musik. Följ gärna mitt arbete med studion. Alla tips tas tacksamt emot.

Vissa blogginlägg kan komma att skrivas på engelska, om de beskriver saker som kan vara av allmänt intresse. Ett sådant exempel är t.ex. nästa inlägg, som kommer att handla om hur man får trumsetet till Rock Band (PS3) att fungera som digitaltrumset på mac.

Total Training, Inc. is a pioneer in innovative online and DVD-based training for leading creative design, digital video, and office productivity software programs.

Ranging from casual hobbyists to the most seasoned professionals, our users quickly learn new software applications and broaden their knowledge of programs currently used. Narrated in an entertaining format by industry experts and leading authors, our video-based software training titles are critical tools for anyone wanting to learn tips, techniques, and best practices from the most respected names in the business.

The following Total Training, Inc. videos were recently added to the Safari Books Online library:

	Total Training for Adobe Illustrator CS3: Essentials By: Steve Samson. Publisher: Total Training, Inc.
	Total Training for Adobe Dreamweaver CS3: From GoLive to Dreamweaver CS3 By: Janine Warner. Publisher: Total Training, Inc.
	Total Training for Adobe Flash CS3: ActionScript 3 Animation and Games By: John Ulliman. Publisher: Total Training, Inc.
	Total Training for Adobe Premiere Pro CS3: What’s New By: Steve Whatley. Publisher: Total Training, Inc.
	Total Training for Adobe InDesign CS3: From QuarkXPress to InDesign CS3 By: Russell Viers. Publisher: Total Training, Inc.
	Total Training for Adobe Flash CS3: Professional ActionScript 3 UI & Data By: John Ulliman. Publisher: Total Training, Inc.
	Advanced Flash Professional 8: ActionScript By: John Ulliman. Publisher: Total Training, Inc.
	Adobe Flex 2: Advanced Visual Programming By: Leo Schuman. Publisher: Total Training, Inc.
	Advanced Flash Professional 8: Next Level ActionScript By: John Ulliman. Publisher: Total Training, Inc.
	Microsoft ASP.NET AJAX By: Asli Bilgin. Publisher: Total Training, Inc.
	Total Training for Adobe Flash CS3 Professional: Flash Animation By: Johh Ulliman. Publisher: Total Training, Inc.
	Macromedia Flash Professional 8 By: John Ulliman. Publisher: Total Training, Inc.
	Website Design: Extreme Website Makeover By: John Ulliman. Publisher: Total Training, Inc.
	Microsoft Office 2007: Getting Up to Speed By: Geoff Blake. Publisher: Total Training, Inc.
	Microsoft SQL Server Development By: Paul Nielsen. Publisher: Total Training, Inc.
	Microsoft Visual Studio 2005: Productivity with .NET Framework 2.0 By: Asli Bilgin. Publisher: Total Training, Inc.
	Adobe Acrobat 7 Professional By: Tim Plumer, Jr. Publisher: Total Training, Inc.
	Advanced Microsoft Expression Web By: Janine Warner. Publisher: Total Training, Inc.
	Microsoft Excel 2007: Advanced By: Bill Jelen. Publisher: Total Training, Inc.
	Microsoft Access 2007: Essentials By: Jeff Conrad. Publisher: Total Training, Inc.
	Adobe Creative Suite 2: From Design to Delivery By: Steve Holmes. Publisher: Total Training, Inc.
	Microsoft Expression Blend 2: Essentials By: Dante Gagne. Publisher: Total Training, Inc.
	Microsoft Expression Blend By: Dante Gagne. Publisher: Total Training, Inc.
	Microsoft Expression Design 2: Essentials By: Justin Seeley. Publisher: Total Training, Inc.
	Microsoft Expression Design By: Jesse Brown. Publisher: Total Training, Inc.
	Microsoft Expression Media 2: Essentials By: Justin Seeley. Publisher: Total Training, Inc.
	Microsoft Expression Media By: Nick Wilcox-Brown. Publisher: Total Training, Inc.
	Microsoft Expression Encoder 2: Essentials By: Brian Maffit. Jason Barbosa. Publisher: Total Training, Inc.
	Microsoft Expression Web 2: Essentials By: Janine Warner. Publisher: Total Training, Inc.
	Microsoft Expression Web By: Janine Warner. Publisher: Total Training, Inc.
	Microsoft Expression Web: From FrontPage to Expression Web By: Janine Warner. Publisher: Total Training, Inc.
	Adobe Flex 2: Rich Internet Applications By: James Talbot. Publisher: Total Training, Inc.
	Microsoft PowerPoint 2007: Essentials By: Echo Swinford. Publisher: Total Training, Inc.
	Microsoft Office SharePoint Designer 2007 By: John Jansen. Publisher: Total Training, Inc.
	Microsoft Visual Studio 2008: Essentials – Featuring Windows Forms By: Asli Bilgin. Publisher: Total Training, Inc.
	Microsoft WPF: Essentials By: Robby Ingrebretson. Publisher: Total Training, Inc.
	ProTools LE: Essential Training By: Jeff Dykhouse. Publisher: Total Training, Inc.
	Drum Tuning and Maintenance By: Joe Randeen. Publisher: Total Training, Inc.
	Guitar Repair and Maintenance By: Steve Soest. Publisher: Total Training, Inc.
	SoundForge 8.0: Essential Training By: Thei Rountree. Publisher: Total Training, Inc.
	Copyright and Publishing Law: For Musicians and Songwriters By: Brock Shinen. Publisher: Total Training, Inc.
	Guitar Effects Pedals: Volume 1 By: Bobby Hartry. Publisher: Total Training, Inc.
	Introduction to GarageBand By: Jeff Dykhouse. Publisher: Total Training, Inc.
	How To Relic A Guitar By: Steve Soest. Publisher: Total Training, Inc.
	DJ Equipment Basics By: Kazell. Publisher: Total Training, Inc.
	Battery 3 – Drums & Percussion Native Instruments By: Kevin Bazell. Publisher: Total Training, Inc.
	Woodwind/Brasswind: Maintenance & Quick Fixes By: Jeff Peterson. Publisher: Total Training, Inc.
	FM8 – FM Synthesizer Native Instruments By: Kevin Bazell. Publisher: Total Training, Inc.
	Essential Gear for Mobile Recording By: Carmen Rizzo. Publisher: Total Training, Inc.
	Ableton Live 6: An Introduction By: Cliff Truesdell. Publisher: Total Training, Inc.
	Introduction to Equalizers By: Jeff Dykhouse. Publisher: Total Training, Inc.
	Acoustic Guitar Miking Techniques By: Jeff Dykhouse. Publisher: Total Training, Inc.
	Introduction to Podcasting By: Daniel Murphy. Publisher: Total Training, Inc.
	Drum Miking Techniques By: Les Camacho. Publisher: Total Training, Inc.
	AXIOM 61 USB MIDI Controller By: Jeff Dykhouse. Publisher: Total Training, Inc.
	Strike Virtual Drummer By: Jeff Dykhouse. Publisher: Total Training, Inc.
	Apple Logic 8 By: Patrick Copeland. Publisher: Total Training, Inc.
	What’s New in ProTools 7.4 By: Jeff Dykhouse. Publisher: Total Training, Inc.
	Cubase 4: The Essentials By: Matthew Loel T. Hepworth. Publisher: Total Training, Inc.
	What’s New In GarageBand ‘08 By: Jeff Dykhouse. Publisher: Total Training, Inc.
	Building Your Own Guitar Effects Pedalboard By: Phil O’Keefe. Publisher: Total Training, Inc.
	Mixcraft 4: The Essentials By: Jeff Dykhouse. Publisher: Total Training, Inc.
	Torq with Xponent By: Steve Nalepa. Publisher: Total Training, Inc.
	Adobe Flex 3: Rich Internet & AIR Applications By: James Talbot. Publisher: Total Training, Inc.
	MOTU Digital Performer: Introduction By: Les Brockman. Publisher: Total Training, Inc.
	Waves SSL 4000 Collection [plug-in] By: Jeff Dykhouse. Publisher: Total Training, Inc.
	Guitar Rig 2 Native Instruments By: Kevin Bazell. Publisher: Total Training, Inc.
	Antares Auto-Tune By: Jeff Dykhouse. Publisher: Total Training, Inc.
	Torq with Xponent By: Carmen Rizzo. Publisher: Total Training, Inc.
	Propellerhead Reason 3: Essential Training By: Jeff Dykhouse. Publisher: Total Training, Inc.
	Macromedia Dreamweaver 8 By: Janine Warner. Publisher: Total Training, Inc.
	Preparing For Mastering By: Ron McMaster. Publisher: Total Training, Inc.
	Line 6 Spider III and Spider Valve Amps By: Bobby Hartry. Publisher: Total Training, Inc.
	The POK wireless foot controller By: Jeff Dykhouse. Publisher: Total Training, Inc.
	Headphone Selection By: Carmen Rizzo. Publisher: Total Training, Inc.
	Line 6 LowDown Bass Amp By: Jonathan Ahrens. Publisher: Total Training, Inc.
	Propellerhead ReCycle By: David Alexander. Publisher: Total Training, Inc.
	What’s New In Reason 4 By: Jeff Dykhouse. Publisher: Total Training, Inc.
	NRV-10 Digital Audio Interface + Analog Mixer By: Jeff Dykhouse. Publisher: Total Training, Inc.
	Demystifying B3 Drawbars By: PJ Morgan. Tim Carmon. Publisher: Total Training, Inc.
	B4 II Virtual Organ By: Tim Carmon. Publisher: Total Training, Inc.
	Compressors: The Essentials By: Jeff Dykhouse. Publisher: Total Training, Inc.
	Introduction to Melodyne By: Laura Escude. Publisher: Total Training, Inc.
	Understanding Subtractive Synthesis By: David Alexander. Publisher: Total Training, Inc.
	Ableton Live 7 Introduction By: Cliff Truesdell. Publisher: Total Training, Inc.
	Micro Track II By: Jeff Dykhouse. Publisher: Total Training, Inc.
	Adobe InCopy CS2 By: Adam Pratt. Publisher: Total Training, Inc.
	Adobe InDesign CS2 By: Steve Holmes. Publisher: Total Training, Inc.
	Adobe Illustrator CS2 By: Deke McClelland. Publisher: Total Training, Inc.
	Total Training for Advanced Adobe Photoshop CS2 By: Deke McClelland. Publisher: Total Training, Inc.
	Adobe Photoshop CS2 By: Deke McClelland. Publisher: Total Training, Inc.
	Adobe GoLive CS2 By: James Talbot. Publisher: Total Training, Inc.

Point Blank Music School have got their hands on the beta version of Melodyne DNA. Check out the amazing new possibilities for music makers that this software opens up:

Problem: The Melodyne Essential 1.8.1.3 that came bundled with Pro Tools 8 LE keeps failing its install.  It gives the following error excuse: Install Failed. The Installer cound not install some files in “/”. Contact the software manufacture for assistance.

Solution: The installer is having writing over the existing Propellerheads ReWire plugin. I used the Terminal App to first delete the folder and its contents, then create a new empty folder of the same name. This will probably come back to bite me later (but I’ll deal with it then).

Join composer and violinist Laura Escudé to learn about Melodyne, the perfect software tool for pitch shifting, time stretching, correcting the intonation and timing of a vocal or musical performance. Thanks to its unique audio editing possibilities and its unrivalled sound quality, Melodyne is highly regarded by musicians, producers and sound designers all over the world who use it in music, film and radio. In this introductory course, Laura shows you the basic functions and tools to get you started on pitch corecting and harmonizing your music. With Melodyne you can actually do the impossible — and do it easily.

VIEW TUTORIAL AT HowAudio.com

“The coolest thing about Melodyne plugin is how natural its corrections sound.”
“These tools are truly amazing for massaging a performance without losing its integrity and nuance.”
“This is a particularly cool form of tuning because Melodyne plugin is moving the centre or ‘perceived’ pitch and leaving the variation alone, meaning the performance of the part is left intact. Some other tuners will pull everything into a flat pitch line, taking anything remotely human out of the performance, and leaving the vocal part with that familiar ‘keyboard vocal’ sound.”"It can do some very cool things to your audio that no other plug-in can, and give you artefact-free flexibility you’ve only dreamed of…”
- Audio Technology

By Joe Shambro, About.com

1 of 6

Prev Next

An Introduction

Digidesign Control 24

Digidesign

Mixing in Pro Tools is one of the most challenging things you can do as a recording engineer! With this free tutorial, you’ll learn how to mix the basics in Pro Tools.

After you’ve gotten your music tracked, you’re ready for mixing. Mixing is a complicated affair for the new recording engineer, expecially once you realize it’s not as easy as turning all the tracks up to the same volume!

This tutorial is geared towards users of DigiDesign’s Pro Tools because Pro Tools is the most common software package used for recording and mixing in both commercial and home recording studio environments. Industry standard compatability is an important feature of Pro Tools; you can start your project in almost any studio in the world, and take it to another one seamlessly.

To follow this lesson, I’ve prepared a .zip file with a special Pro Tools session file, including audio files, for you to open and practice mixing on! You’ll find a one minute segment of a song I recently recorded. Click here for Pro Tools 7 format, and click here for Pro Tools 5 through 6.9 format. Note: Some readers have said the Pro Tools 7.0 .zip file won’t open after download; this is a server problem I’m working on having fixed; in the meantime, if this happens to you, just download the Pro Tools 6 version, it’ll open fine and is backwards compatible with Pro Tools 7.

Download and open the session file in Pro Tools to get started; you’ll see the entire session laid out before you. For effects, I’m only going to use the included plug-ins that come standard with Pro Tools so that everybody can play along. Let’s get down to mixing!

more @  mystified113

Learn how to mix audio from a multi platinum professional.

Kiedy usłyszałem legendarne nagranie z mikrofonu Mandaryny nie mogłem wyjść z podziwu… dla realizatorów. Jak dla mnie produkowanie płyt tej artystki jest raczej nie opłacalne. Wydawałoby się, że tysiące sprzedanych krążków nie są w stanie wynagrodzić producentom Mandaryny czasu i cierpliwości jaki musieli włożyć w to, by jej głos współbrzmiał z melodią. Niedawno poznałem program, który bardzo ułatwia tak karkołomne zadania jak realizowanie nagrań beznadziejnych wokalistów.

Melodyne występuje zarówno jako VST oraz samodzielny program. Za pomocą kilku kliknięć możemy osiągnąć właściwie wszystko. Program dzieli ścieżkę na dźwięki i analizuje ich wysokość. Za pomocą zaledwie kilku kliknięć, w prosty sposób możemy zmienić tonację, dokonać pełnej korekty, ustabilizować wysokości dźwięków, można nawet modelować timing ścieżki. Poświęciwszy odrobinę czasu można nawet z najbardziej niedoświadczonej osoby wyrzeźbić świetnego wokalistę.

Zauważyliście, że dzisiaj niewielu jest artystów brzmiących na żywo równie dobrze jak na nagraniach? Melodyne jest obecnie standardem w przemyśle muzycznym. Na stronie producenta znalazłem informacje na temat laureatów tegorocznego rozdania Grammy… wymieniono użytkowników Melodyne.

Sonicworx

Muito já se ouviu falar do tal Melodyne DNA (Direct Note Access) Anunciado pela Celemony no primeiro semestre de 2008, com uma tecnologia que tornaria possível o impossível, a edição e manipulação de cada nota em uma trilha de audio, porém nada foi concretizado até o momento.

Tentando sair na frente com esse tipo de tecnologia, a Prosoniq anunciou no Musik Messe 2009 seu novo trumfo para esse ano, o Sonicworx Pro.

O Sonicworx Pro utiliza dos mais recentes  avanços no processamento digital  para manipulação dos  sinais de áudio presentes em uma mix. Através da tecnologia Prosonic Time-Frequency, será possivel obtermos a exibição, extração e isolamento de cada elemento dentro de uma mix (instrumentos, vocais, etc..), de uma forma quase automatica com a ajuda do mouse, além da edição e manipulação de cada acorde ou nota, da mesma forma em que fazemos em uma edição MIDI.

Agora pergunto, será possivel ou é só mais uma história da carochinha?

vejam o video abaixo:

Site do Fabricante:prosonic

So this is going to be all about auto-tune, the magical audio plug-in and hardware solution for those who just cannot be bothered trying anymore. Well why should singers bother singing with any effort? It’s not like that’s what they’re claiming they’re really good at or anything and it’s definitely not like that’s what we’re paying to hear them do either.

I first heard about Antares auto-tune software/hardware about 8 years ago now, initially I thought ‘wow, that’s amazing. If I sing and I mess it up I can use software to pretend i didn’t?’. My problem with Auto-tune and other pitch correction software/hardware (Melodyne, Waves) isn’t so much the purpose of it. I completely understand it’s purpose. It’s similar, if not the same as when you are recording drums and you use a compressor for some dynamic control, or when you use an EQ, gate etc. It’s a tool that can be used during recording/mixdown/mastering to help you create your final product the way you/the artist want it to be.

What I don’t like about these pitch correction tools is the absolutely blatant abuse of them. Because of them, anyone can sing with perfect pitch now, absolutely anyone. And tonal characteristics do not seem to matter in the slightest anymore, as long as it’s pitch perfect it’ll do. Avril Lavigne, Chris Brown, Britney, and the Pussycat Dolls are some that jump right out there’s more though, lots more!! Some of them also think it’s a cool effect, Kanye West, Cher, T-Pain, you’re all guilty of this and you’re all absolutely wrong, the sooner you get that the better off we’ll all be.

I probably should be able to turn a blind eye towards any studio techniques that may have been used to make the singer(s) sound much better than they actually do just to get more units sold, considering the effort that’s made to edit and process the photography/video side of things.
But it makes absolutely no sense when x-factor, American idol and other similar talent shows are hurled at us. These shows are yelling at  ‘look at this, we found some raw unprocessed talent for you, it does exist, people that can actually sing, hurrah!” And then of course throughout the show the talent are compared to “great singers” sometimes even the ones who abuse Auto-tune to try and cover up the fact that they absolutely cannot sing well! How backwards is that?

This makes me question the integrity of the entire talent show TV show format. Auto-tune can, has and will continue to be used in a live situation, amongst other techniques to “enhance” the performance. Who says the vocal take you are hearing in a live performance is actually live? People still lip sync. Or, what if the microphone is on and the singer is audible…well, only when ever other channel on the mixing desk is muted, which would include all of the pre-recorded harmony and doubled vocals running from the backing tape. There’s plenty of ways to cut corners. Who’s to say these talent shows aren’t doing the exact same thing?

The shows are already heavily edited as it is, and as far as I’m concerned the only reason these TV talent shows exist is to give the record companies a new way to create their manufactured pop artists. They’re using the reality TV show format to convince the viewers at home that just about anybody could win it since just about anybody can enter it. Oh yeah and don’t forget their mission to save record sales. I wouldn’t be surprised if the entire show was rigged and that they know who the winner will be before they even finish the auditions stage. They don’t care about making someones pop-star dreams come true, they only care about the revenue they’re going to generate. And I certainly would not be surprised if Auto-tune or other similar pitch correction software was used during these shows to “help” sway the attention of the public towards a particular contestant.

Then again I might be completely wrong about it and maybe these shows are actually completely genuine and they are the reason everyone else is using pitch correction because the contestants are appearing from nowhere and are making an absolute mockery of their careers.

These are just some of my thoughts regarding auto-tune, I could probably go on for days moaning about it, I’ll just have to save it for a later post.

Last year, we wrote a post on Melodyne’s Direct Note Access – an audio program that perfectly analyzes chords and separates them into single notes – much like altering audio like you would MIDI. This very impressive application represents a huge step for the musical production process and may well become a new standard in a not so distant future.

Today I stumbled upon an interview with Direct Note Access’ inventor Peter Neubaecker explaining in further detail how his software works. I found this to be most interesting, and I take advantage of these two videos to promote yet again this amazing concept:

Woof.

Per aver spostato i termini di quel che significa cantare, per aver dimostrato che anche la mia vicina ottantenne potrebbe avere un futuro nella musica, per averci dato momenti forti di ilarità e gioia inconsulta, per aver raccontato con impareggiabile bravura che il “cuore” possiamo avercelo tutti, anche lo zio Ciro, tutti dovremmo dirti grazie.

Grazie perché senza di te non avremmo capito quanto la Di Michele può essere stolida (la Scarponi al confronto sembra Einstein e il maestro Palma un futuro premio Nobel). Grazie perché senza di te come avremmo capito che la commissione è composta da gente livorosa e piena di sé tanto da sentenziare che tu ce l’hai il talento, mentre altri, sticavoli, manco pa’ capa?

E allora, cosa c’entra se non sai cantare neppure “Buon compleanno a te”? Cosa c’entra se ascoltata su cd la tua canzone (“Domenica”) sembra ancora più piatta e inascoltabile che dal vivo (il melodyne prende, il melodyne toglie)?

Cosa c’entra se potevi arrivare addirittura in finale e invece, grazie al cielo, Maria (gliene renderemo per sempre grazie) l’ha evitato? No, no, grazie Mario, grazie davvero: tutti noi siamo felici che tu abbia avuto gli onori della resa, che tu sia uscito così tardi (magari al tuo posto ci fosse stata Silvia Olari, ma tant’è), perché così ci siamo resi conto di tutto.

Poteva essere che fossimo tutti deficienti a credere che Karima cantasse meglio dell’Angelucci e che Marco Carta fosse più bravo del duo Bonanno-Maione. E invece, invece no (come canterebbe la Pausini). Invece, adesso siamo sicuri che chiunque ti abbia fatto qualche complimento, anche di straforo, l’abbia fatto per indulgere al massimo grado nel buonismo. Il resto del mondo, dal canto suo, non te ne potrebbe fare nemmeno sotto tortura.

Grazie, allora, di esistere. Almeno ci siamo tolti un cruccio: non siamo sordi.

I bianchi commentano le accuse dei blu. Luca, facendo il verso ai bianchi, dice a Mario: “Tu sei primo perchè sei un tenerone ricco!”. Poi si difende dall’accusa di essere stato avvantagiato nella “prova proibitiva” perchè conosceva già la canzone visto che non ha avuto bisogno di prendere la nota, al contrario di Valero. Luca spiega che mentre Valerio si esibiva, cantava con lui seduto al posto e aveva capito che la tonalità era la stessa.

Mario dice di non sentirsi per nulla inferiore a Valerio, anzi, crede di dare molto di più a livello interpretativo. Dice di Valerio: “E’ come andare al bar. Quando ti chiedono “cosa prendi”? E tu ripsondi il “solito”. Ecco, Valerio è sempre il solito”.

I brani che scelgono per la prova staffetta:
Luca Scrivimi di Nino Buonocore; Quando di Pino Daniele; Se Adesso te ne vai di Massimo di Cataldo
Mario Una lunga storia d’amore di gino Paoli; Ogni volta di Venditti; La cura di Battiato.
Alice: 1 assolo di contemporanea e 1 assolo di hip-hop

Dai blu, show di Martina. Su Mario: “Ti ho sempre coperto per due mesi. Sai che siamo stati amici e ti ho sempre coperto, ma in “Una estate fa” sei stato indifendibile. Ammettilo che hai stonato”.
E poi le rivelazioni su Luca: “Ti fa comodo stare con Alice perchè tu vuoi la donna zerbino. Ma dillo alla tua biondina che hai fatto l’ape di fiore in fiore. Prima con Silvia, poi con Alessandra e poi ci hai provato anche con me, ma hai capito che ho un carattere troppo forte.”
Di Alice dice che “E’ una pecorella che segue il gregge” “Alice non ha argomenti suoi e segue gli altri e non ha capito che Luca e Mario mirano a mandarla via per arrivare loro due in finale a braccetto”.
Infine, sempre Martina, spiega quanto sia stata coerente nel dire da sempre che è Valerio a dover vincere Amici.

I brani scelti dai blu:
Martina Io vivrò di Battisti; Notturno; Heaven; Valerio Adagio; Imagine; Tu si na cosa grande; Pedro due assoli di Steve.

NB come menzionato da Valerio, lo strumento di rilevazione di tonalità ed errori introdotto come “prova scientifica”, si chiama Melodyne

I’m am currently viewing Robert Scoble’s video of the two Microsoft Engineers who act in the Songsmith Commercial. Now for those of you who somehow missed this video, behold the wonders of Microsoft’s ad campaigns (who actually used a Mac covered with stickers. Go figure).

Ok, it looks bad, really bad, as if a smruf or a snorky produced it. Well first off, maybe I’m the exception but I can’t get it out of my head and have watched the ad more than once. They wanted it to go viral, and they succeeded marvelously.

My first feelings about the product were mixed – I found it to be a cool idea of course, imagining how complex the algorithms to make it work were, and I knew that yet again we had broken down another boundary towards our musical demise with robots generating music and all, but still, it looked so childish that I didn’t give it much thought.

Now I see things differently. Songsmith is on to something big but that stupid yet very effective ad doesn’t honor it’s capabilities. The video Scoble shot of those two engineers really grabbed my attention as they explain in much more detail how it works. Granted that commercials can’t last 20 minutes, but in those 4 very long minutes composing the ad, Microsoft could’ve demonstrated the good stuff instead of ridiculing themselves. Like the fact that the algorithms can easily scale the music from major to minor, or that you can actually alter the chord progressions and re-work the produced music. Also, the system pre-populates a media section where all you have to do to send your song to Youtube with whatever video or graphic display you want as a background is to click on a couple of buttons.

Actually I think this ‘childish like version’, which is probably going to be more popular at drunken parties than at pre-teen sleep-overs, is a spin-off to some more complex versions, and possibly some heavy-duty pro-audio software. If they can generate harmonies and melodies by analyzing ones voice, they can surely generate an instrument’s score for a mix. In a pro-audio context, they could let the producer tweak the sounds, import sound banks, link it up to virtual instruments etc. Re-tweak the results with Melodyne’s Celemony or Direct Note Access and you could really start getting creative. Another thing they don’t show you in the ad is that we can actually export a generated song’s MIDI files, tweak them in an audio host like a sequencer, and re-import them into Songsmith. Not sure many people are going to use this feature with such chipmunk-sounding instruments, but I appreciate the attention to detail, and in further releases this might seem more relevant.

I’ve been playing around with the demo version and I must say that from a musician’s point of view, there are some major downsides, like basically having no control over the instrumentation. We can change basic stuff like the chords, the swing, the tempo and the mood of the song, but I still felt pretty limited after 20 minutes – all styles only have one instrumentation preset making the experience kind of dull after a while (everything sounds the same). Then again this version was never meant for musicians, on the contrary, and in the end that’s a good thing. It opens up  music to the vast quantities of people who are absolutely positive they are tone deaf, kind of like that Beamz Music System we reviewed in September. Speaking of self-proclaimed tone-deaf people who could benefit from products like Songsmith, Andrew Dubber’s blog, ‘New Music Strategies’ has a very interesting post called ‘Amateur Nonsense‘ on the matter.

By youtubing ‘Songsmith’ you’ll encounter quite a few entertaining videos. Here are a couple I linked to my new Sqworl account (new bookmarking platform that enables users to create folders of bookmarks).

Enjoy.

Celemony Software presenta durante el Winter NAMM Show 2009, Melodyne Editor, el primer producto con Acceso Directo a la Nota.

La tecnología DNA (Direct Note Acces) permite editar las notas individuales de un acorde en grabaciones audio. Melodyne Editor ofrece nuevas posibilidades de corrección y de moldeo de un material audio, gracias a esta tecnología.

Melodyne Editor se sustituirá a Melodyne Plugin y estará disponible durante la primavera a precio de 349$/€ en la tienda en línea de Celemony y en tiendas de música. En adición, Melodyne Editor también será parte del Melodyne Studio Bundle.

Las actualizaciones ya anunciadas para los usuarios existentes de Melodyne Plugin queda válida : el cambio a Melodyne Editor costará 129$/€ y cualquier persona que haya registrado su versión de Melodyne Plugin después del 12 de Marzo de 2008 recibirán Melodyne Editor sin coste adicional.

Más información en www.celemony.com. 

München/Anaheim, 15. Januar 2009, NAMM Show, Hall A, Booth 6900 (ictw) – Celemony Software GmbH stellt auf der NAMM Show 2009 Melodyne editor vor, das erste Produkt mit Direct Note Access. Die DNA-Technologie wurde von Celemony erstmalig auf der Musikmesse Frankfurt 2008 präsentiert und erregte weltweit großes Aufsehen: Sie erlaubt das individuelle Verändern von Akkordnoten in Audioaufnahmen. Melodyne editor bietet für einzelne Audiospuren alle Bearbeitungsfunktionen, die Melodyne legendär gemacht haben, und eröffnet mit DNA darüber hinaus einzigartige neue Möglichkeiten zur Korrektur und Gestaltung von Audiomaterial. Melodyne editor kann als Plugin oder stand-alone betrieben werden und ist ab Frühjahr 2009 für 349 US$/€ erhältlich.

Melodyne editor repräsentiert sowohl funktional als auch technisch die nächste Melodyne-Generation. Es bringt all die ausgereiften und bewährten Bearbeitungsfunktionen mit, die von den bisherigen Melodyne-Editionen bekannt sind, und eignet sich daher hervorragend für die Bearbeitung von Gesang und anderen einstimmigen Instrumenten. Durch die Integration von DNA werden nun jedoch auch die Harmonien einer Audiodatei sichtbar, greifbar und formbar – Ton für Ton. Der Anwender kann buchstäblich in die Akkorde seiner Aufnahmen hineingreifen und einzelne Noten darin ändern. Für das Korrigieren und Umformen von Audio bietet das neue Möglichkeiten.

Während Melodyne editor hinsichtlich des intuitiven Zugriffs, der Musikalität und Klangqualität in bester Celemony-Tradition steht, ist sein technischer Unterbau komplett neu. Die neue Software-Basis bietet unter anderem ein optimiertes Multi Threading, das moderne Mehrkern-Prozessoren voll ausnutzt. Sie ermöglicht außerdem viele Verbesserungen im Plugin-Betrieb, darunter eine frei wählbare Fenstergröße, Mithörkontrolle bei der Tonhöheneditierung, Scrubbing und “Edit play”, ein vom Host losgelöstes Playback.
“Unser erstes Produkt mit DNA sollte ursprünglich ein Update auf Melodyne plugin 2 werden. Da wir nun aber rund um DNA letztlich ein neues Produkt mit neuer Technik und völlig neuen Anwendungsmöglichkeiten entwickelt haben, das zudem auch stand-alone genutzt werden kann, haben wir uns für einen neuen Namen entschieden. ‘Melodyne editor’ bringt es auf den Punkt: eine Melodyne-Editierumgebung für einzelne Spuren”, so Carsten Gehle, technischer Direktor der Celemony Software GmbH.

Melodyne editor ersetzt mit seinem Erscheinen im Frühjahr 2009 Melodyne plugin und ist für 349 US$/€ im Celemony-Webshop und im Fachhandel erhältlich. Zudem ist Melodyne editor ab Erscheinen Teil des Melodyne studio bundle. Auch nach der Namensänderung gelten selbstverständlich die bereits angekündigten Update-Optionen für bestehende Anwender von Melodyne plugin: Der Umstieg auf Melodyne editor kostet 129 US$/€, und wer Melodyne plugin nach dem 12. März 2008 registriert hat, erhält Melodyne editor sogar kostenlos.

Weitere Informationen unter www.celemony.com

Sagt uns Eure Meinung zu diesem Produkt auf unseren Audiofanzine Foren.

1. Ableton Live 8
The indications are that a new version of Ableton’s groundbreaking DAW could be shown in Anaheim.

2. The ‘producer product’ from Native Instruments
We already know that NI will be launching three new products at NAMM – a hunch is that it will be the biggest NI product innovation in years”.

3. Cubase 5
Steinberg’s revelation that its NAMM announcement will concern “the apex of many years of technology developed through our passion to help musicians, composers and producers realise their musical creativity” certainly points towards a Cubase update.

4. Melodyne Direct Note Access
Having had its release date delayed – it was originally supposed to be available in the fourth quarter of 2008 – we hear that it’s finally ready to go, and should be shown in its almost-finished form at NAMM.

5. AmpliTube 3?
IK Multimedia has plans to announce something, and a new version of AmpliTube seems like a logical launch for them.

6. NI new drum machine >> Maschine
Native Instruments will be introducing Maschine – a next generation groove production studio that combines hardware and software – at the 2009 NAMM Show.

Native Instruments Maschine [NAMM 2009 Highlights]
A brand new hardware/software groove production studio. Covered in depth by Create Digital Music.

M-Audio Axiom Pro Series [NAMM 2009 Highlights]
I’ve been looking for a 49-key controller to fill the gap between my Korg nanoKEY and Keystation Pro 88. Best feature… HyperControl automatically maps the keyboard’s 65 controls to commonly accessed parameters in digital audio workstations including Pro Tools®, Cubase, Logic and Reason*, as well as software instruments.

Celemony Presents Melodyne Editor… Again [NAMM 2009 Highlights]
Quite some time ago Celemony made a huge buzz among musicians and non-musicians alike with their Direct Note Access technology. I discovered it in the Delicious Popular Feed of all places. Anyway, I forgot all about it until today.