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as well as the note assignment slider, there’s a small transpose slider in the bottom right-hand corner of the editor window. it’s best to adjust this slider as you drag the note assignment slider up and down, so that you can judge for yourself the degree of pitch adjustment that’s being made.
on the plus side, however, i discovered that it’s possible to obtain reasonable results when using this software for individual passages, and the drag-and-drop process (as well as the other tools) are both very simple to use. i wish that the editor tool’s pitch and time manipulation functions had more options for the transient, such as applying cutoffs and suchlike, but the basics worked a treat, and aside from the transients, the result was very pleasing to the ears. some of the smaller licks in the intro of the song that i corrected were clearly far better than those i’d produced with my midi keyboard, and the noise that dna is usually prone to adding to the background around transient moments was almost completely absent.
that’s not to say that it was a perfect process by any means. one of the things that struck me most was how often i’d have to return to the editor and make changes, particularly with respect to the note assignment process. while it’s pretty easy to do the latter in a realtime environment, i found that dna’s process to be virtually unusable. either the algorithm would assign three notes to the same pitch as i moved the time slider, or else it would assign one note with a time period of three seconds and the other note with a time period of two seconds. as the time slider slides, the notes would all change colour to suit the time, but i’ve never seen a live tool where that sort of thing works. and when you go back to make a few changes, it’s all but impossible to guarantee that the process will work in the same way, so you’re constantly making changes and hoping for the best. it was clear that this was by far the biggest potential problem with the software, and one that could easily have been addressed if someone at celemony had come across it and been sufficiently annoyed to do something about it.
there’s no such thing as a free lunch, and there’s no such thing as a free kit. if you want to do any significant amount of work with melodyne, you’ll need to be prepared to spend some time finessing the tools that celemony provide. personally, i didn’t find it particularly necessary to use the ‘detune’ function to help get the pitch detection to work, but i suspect that’s because i was using the wrong kit, and that it’s a much more valuable tool for working with polyphonic parts.
with only one active blob at a time, the outcome of the pitch adjustment process is very much a matter of taste. it’s a natural extension of this process that you’ll find yourself fiddling with the note assignment slider, adjusting the position of the note assignment slider’s red arrow (which celemony term the crescent) until the note you’re trying to transpose is roughly in the right place. you can see where the pitch adjustment should be made by the degree to which the note blobs in the source material have been shifted towards the octave key in the arpeggiator.
more than half the time, however, the note assignment slider’s crescent will serve to override your judgements. either way, the stylus should touch the note you’re trying to transpose, then the bubbly blob around it should be lightened. a small ‘transpose’ slider is provided at the bottom right of the note assignment editor, but it doesn’t seem to have much of a purpose. you should be able to tell immediately if you’ve made a mistake by the way the note assignment slider’s crescent suddenly pops up to a completely different place, or by the fact that the blob around the note you’re trying to shift has gone from being a red/yellow ball to a white outline.