DNA Direct Note Access™ is the technology which allows to identify and edit individual notes in the polyphonic material. The unique access that Melodyne™ has long offered to the pitch, timing, duration and other parameters of notes in the monophonic material is now extended.
What is Direct Note Access?
DNA Direct Note Access™ is a development that radically and forever alters the handling of audio. In the world of digital image processing, it has long been possible with the right software not only to correct depicted reality down to the smallest details but also, literally, to create new worlds: images that depict with total credibility something that has never existed. DNA Direct Note Access™ offers Melodyne™ users comparable freedom in the field of audio. Melodyne™ with DNA Direct Note Access™ allows you to intervene in the audio material in ways that were unthinkable before and that range from subtle enhancements to re-composition.
The main software developed by Celemony using Direct Note Access™ is Melodyne. It’s easy to forget how much of a revelation Celemony’s original Melodyne software was when it first appeared in 2001. The quality of its central pitch/time manipulation engine generated a real sense of excitement amongst musicians. It offered many new possibilities. Since then, Melodyne has progressed through several stand‑alone versions. Each version was refining the existing concept and ironing out wrinkles in the user experience. By the time a proper plug‑in version was announced at the end of 2006, the whole package was slick and mature. It soon proved itself indispensable for my everyday audio‑buffing tasks.
3 processing algorithms
When at the beginning of 2008, DNA Direct Note Access™ was first demonstrated, it created a considerable stir. Three processing algorithms are available: the pre‑existing Melodic and Percussive settings, and the new DNA‑powered Polyphonic mode. The key to getting good results is to make sure that the software’s note detection actually matches what you’re hearing. It’s pretty good, but it’s not infallible. If it fails to detect the notes correctly, the processing won’t work as it should. Fortunately, you can control the way Melodyne interprets pitches in the audio, via a special Note Assignment mode.
For polyphonic material, the detection process is more involved and time‑consuming, as befits the complexity of the task. Melodyne needs a precise map of all the notes in a given chord if it’s going to adjust the pitch of one note without adjusting the others. If it detects only one note in a two‑note chord. and you then try to shift the pitch, you’ll end up shifting both pitches. This is because it doesn’t know that there’s something it should be left untouched.
Although Melodyne, again, does a remarkably good polyphonic detection job straight away, I’ve yet to have it guess everything right the first time, so some time spent in Note Assignment mode is par for the course. Furthermore, because (for unspecified technical reasons) you annoyingly lose your Undo history every time you enter Note Assignment mode. It’s better to deal with detection problems straight away, rather than leaving them until you’re halfway through your actual processing.
Additional resources & source texts