Melodyne 5 is one of the best VST vocal correction plugins. Its main functions are dynamic and sound processing, rhythmic matching, creating takes and backing vocals, alternate parts and different types of effects.
Melodyne version 4 was already an almost perfect tool for vocal processing. Has version 5 taken its capabilities to the next level?
What’s new in Melodyne 5?
The first promising new feature in version 5 is the “Melodic” algorithm, which promises automatic sibilant detection. Sibilants are noisy parts of a song, such as hisses, short muffled sounds, and short breaths between words. Because sibilants are muffled, their pitch cannot be changed along with the tonal components. Therefore, in previous versions of Melodyne, they always had to be carefully separated in order to achieve a particularly natural sound – a truly exhausting task.
The new version of Melodyne 5 has improved the algorithm for determining the average pitch wherever vibrato appears, and in the case of vocal parts in one form or another, everywhere. Now, after double-clicking a note, it’s much more likely to tune to the nearest chromatic sound (or according to the superimposed scale) in a more ear-friendly way.
The new dynamics tools include Fade-in and Fade-out, and it’s the second tool after the sizzling volume control that can eliminate the need for additional processors-in this case compression. By gradually increasing the volume of the beginning of sounds, we can easily soften inconsistent transients or explosive sounds, and by adjusting the overall envelope, the level of each sound will be uniform. This means that already at the stage of correcting the intonation of the vocal part, we can adjust it in such a way as to eliminate the need to use correction tools during mixing. Therefore, we will use compressors and equalizers on session tracks only to achieve certain sound effects, and not to eliminate technical problems. The Fade function is flexible enough to take into account the length of the dimming applied and the shape of the change characteristics.
With so many new and surprisingly effective features, other improvements can be overlooked. These include, above all, new algorithms for pitch recognition, especially when it comes to percussion sounds, which can be analyzed with and without tonal components, the extension of the melody algorithm, which can better handle reverb sounds, and two types of polyphonic analysis – Decay and Systein. The former is ideal for linear acoustic guitar recording, for example, and the latter for microphone recordings when the room acoustics factor comes into play. There are also more key combinations, and the search function will allow you to quickly find the right set of instruments, adapted to the specifics of our work.
To summarize the above, in terms of editing, Melodyne 5 goes far beyond advanced intonation correction, boldly entering areas previously reserved for spectrum editors and complex dynamic processors. At the same time, it differs from them in that it is extremely easy to use and allows you to apply actions to individual sounds or notes. How does Melodyne 5 compare to the competition? In fact, we can only talk about one serious rival, Revoice Pro from Synchro Arts, since Antares Auto-Tune is more of a vocal effect than a functional editor.