User manual CELEMONY SOFTWARE MELODYNE STUDIO 3.2

[. . . ] studio user manual version 3. 2 © Celemony Software GmbH, 2010 Melodyne studio user manual version 3. 2 This printed documentation refers to Melodyne studio 3. 2. Please check your program folder for updated documentations in pdf format. In addition, the latest documentation can always be downloaded from www. celemony. com. Hoenig, Peter Neubäcker Translation: Ewan Whyte Celemony Software GmbH Valleystr. [. . . ] In Melodyne, the relative positions are called Do, Re, Mi. . . , the absolute positions are called C, D, E. . . (in most "Latin" countries, the names Do, Re, Mi. . . are used as having the same meaning as C, D, E. . . we will not do this here since we would lose the difference between relative and absolute positions. It would have been best to use the Hindu names Sa, Re, Ga. . . , as these only intend relative positions). This discrimination would be irrelevant for equal temperament, since in this (and only in this) temperament the intervals of all tonal positions are exactly equal to each other. This means that a C major scale on a piano, which is tuned in equal temperament, has the same intervals as an E major scale. All other tunings do not share this characteristic. The relative intervals (Do, Re, Mi. . . ) are used at first as a construction plan to specify a tuning relative to the imagined key note or tonic (Do). The second step is to specify where this tonic is located in an absolute system, i. e. like on a piano key (C, D, E. . . ). Used Tonal Positions Proportions of the relative Tonal Positions Assign relative to absolute Absolute Tonal Positions Proportions of the absolute Tonal Positions Melodyne studio user manual 99 05 Other editing functions and options ­ The buttons "Used Tonal Positions" define, which tonal positions (of 12 possibilities) appear in the scale. (These then become the positions that notes can snap to if "Scale Snap" is activated. ) ­ The text fields "Proportions of the relative Tonal Positions" define the actual tuning. They always relate to the virtual tonic "Do". (If the Editor Window is opened when you make these changes, you can see how the background of tonal positions changes relative to the other tonal positions. ) This procedure defines the relative tuning. ­ The buttons "Assign relative to absolute" specify which absolute tone is set to be the actual key note of the relative tuning. If you press a button for the assignment, you can see that the displayed cent value beside the absolute tone is set to 0. All other text fields now display values relative to that key note. This procedure defines the absolute tuning of each key. ­ If you press the "Absolute Tonal Positions" buttons, you can see which tonal relations result for each tone by the respective assignments in the "Proportions of the absolute Tonal Positions" text fields. These buttons only have a display function and will not change the tuning. ­ If you changed the values in the "Proportions of the absolute Tonal Positions" text fields, you would change the relative tonal positions at the same time; only that here, they would be changed from the point of view of absolute tonal positions. This is just an alternative to editing the "Proportions of the relative Tonal Positions" first. [. . . ] Alt + Arrow left/right Scroll left. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 (Num) Scroll right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 (Num) Scroll up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 (Num) Scroll down . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [. . . ]