![]() ![]() It's based on Yamaha's Pitch Fix technology and offers on-the-fly pitch correction as well as pitch matching to incoming MIDI notes. PitchCorrect, a real-time feature that's expectedly more straightforward with less parameters to tweak, is also included. VariAudio will also output a MIDI file, so you can do creative things with virtual instruments, MIDI plug-ins, or even MIDI-controlled audio plug-ins. And by grabbing the upper corners of a Segment, you can add "tilt" to change how long it takes to reach or depart from the target pitch. You can also tweak quantization and micro-pitch within each Segment or relatively across a selection of Segments. As expected, you can move, cut, and join the Segments to affect the pitch of the track. It's this all-in-one display supported by the immediate availability of the other controls in the DAW that really make you appreciate the full integration. The graph of the measured pitch (as it goes up and down) is also plotted Īnd these are superimposed on a silhouette of the standard waveform display. All you do is open up Cubase's Sample Editor and run an initial analysis, and VariAudio will calculate the Segments -rectangular blocks on a piano-roll like display -that represent the target pitches of the audio along the timeline. But unlike a plug-in, VariAudio is fully integrated into the DAW. That's when pitch-correction software comes in, usually in the form of a plug-in. But even with a track composited from many tracks, we might struggle with a vocal moment that has a certain "magic" to it but wavers in pitch just enough to be bothersome. We often record multiple (perhaps even hundreds of) takes from which we can pick and choose the best lines, phrases, and even syllables. There's no denying that capturing a perfect vocal performance can be quite an elusive goal. Number one on my list of new features is VariAudio pitch correction software. Immediately following my roundup are GH's thoughts on Cubase -from the perspective of a non-seasoned user. You'll have to visit Steinberg's website for a more comprehensive list. If I didn't have a wordcount limitation, I could easily expound for many pages on all of the changes included in this major revision, but I'll have to limit my discussion to a roundup of my favorite new features. Two years after the release of Cubase 4, Steinberg released Cubase 5, and long-time Cubase users will appreciate what may be the most feature-packed update yet. “We are very proud as a small Munich software house to be granted such a notable international recognition for our work,” said Neubäcker, receiving the award together with his three partners in Los Angeles.Steinberg Nuendo has been my main DAW for a couple years now, and during that time, both Nuendo and its sibling application Cubase took two minor steps in version number, but with each update, I was impressed with what I felt were significant new capabilities (Tape Op #68). He also thanked the Recording Academy, the Celemony team, the company’s many friends and, of course, all the users of the software Melodyne. In his acceptance speech, Peter Neubäcker alluded to his philosophical and mathematical background, explained his own, singular vision of music, and described the beginnings and the spirit of the company. After all, Celemony has blazed open a radically new avenue of access to musical editing that for ten years now has made it impossible to imagine music production without it. ![]() Host and Grammy manager James McKinney opened with the legendary question posed long ago by Melodyne inventor Peter Neubäcker: “What does a stone sound like?” A truly philosophical approach to the world of sound technology, far away from the purely technical thought-processes that typically prevail in the industry, and yet it is for precisely that reason Celemony was chosen to receive this year’s Technical Grammy. ![]() The first of the Special Merit Awards to be presented went to the Munich software house Celemony. And perhaps also the strangest,” commented Melodyne inventor Peter Neubäcker. I believe our company is the smallest ever to have received a Technical Grammy. “This is an honor none of us ever expected. The highest award in the music business is given in recognition of “contributions of outstanding technical significance to the recording field” and is equivalent to an Oscar in the film industry. On February 12, 2012, we have been honored by the Recording Academy as the first German software manufacturer with a Technical Grammy. ![]()
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