Any tips on how to smooth the transitions between notes in heavily corrected audio? For example, Melodyne has a tool that adjusts the slur between notes that reduces the note-jumping side effect - VariAudio does not - and sometimes heavy correction results in the dreaded “Cher Effect”.
I have tried chopping note events into three parts and only applying “straightening” to the center section - leaving the sections on each end “slurpy”. This works but is a clumbsy, time consuming workaround.
Are there any other methods of concealing heavy correction in VariAudio?
Though I don’t have an answer to your problem (and I apologize for posting without one), I just wanted to say I found your post very thought provoking. I’ve come up w/ a laborious “workflow” (apologies to Catman) that I just figured was the cost of doing business when using VA. It has actually changed how I sing (now if I can’t sing it wellenough, I sing it with the idea of minimizing VA edit time, too weird, but it works).
So I read what you wrote and say, “Hey, now THERE is the 1st concrete and specific reason I’ve heard to buy Melodyne”.
But THEN - i realize that so many songs on the radio actually HAVE that Cher effect. So even in the best of hands, with the best of pitch correcting software, that can’t be gotten rid of?
So, I guess I’ll stick w/ VariAudio.
I think the specific solution to your problem will depend on the fine details of why you need heavy-duty pitch correction. Is the entire note off? Just the beginning, then the singer settles into it? Just the end, where the can’t hold their pitch as they end the note? Each of those will require a different corrective approach.
For sloppy entry into notes, what I do is shorten up the segment so the scoop into the note is excluded from the correction. I’ll bet there’s a billion different ways to approach it though, at least a million of them better ones than mine.
It would be great if there were a youtube by either Greg Ondo or someone w/ great skills showing lots of examples of examples of using VA!
I think you’re forgetting here that the best of hands are using it as an effect. We’re supposed to hear the robotic transitions in much of the hit music these days. For other repertoire it’s used in a traditional ‘correction’ way, and when done well, we can’t hear it, plus we don’t know what the original recorded vocal was like. (Now wouldn’t that be interesting!) What I also find in the last few years, is that because pitch correction is so widely used, young singers tend to sing like what they hear on the radio, and settle into notes much less than before and have (to my ears) a certain unnatural style that way, getting pitch right but ‘feel’ wrong…
Sorry for hijacking the topic, but I also have no real solution for the OP.
One of the reasons I upgraded to CB6 was for the integrated VariAudio tool. Most of the time it gets the job done but it is definitely not on the level of Melodyne. I was hoping they would continue to develop VariAudio but it looks like it is what it is.
Guess I have to buy Melodyne for times when I need the “big guns”…