briandhughes, thank you, thank you, thank you! Your tip works perfectly! I kept trying to import the midi file by selecting file>import>midi; it never occurred to me to try file>open.
 
Even though this not as convenient as doing everything from within Sonar would be, at least it works!
 
This will make making music SO much nicer and more natural for me - it's something I've wished for for years. I'm thrilled!
 
Hurray for this forum, and thanks again, Brian!

valsolim
At the moment, the timing information detected by Melodyne can be directly transferred into DAW only in Presonus Studio One. Indeed, this key feature should be added into Sonar immediately. Otherwise, Cakewalk is lagging behind.

I expect it will be added soon.  I use both Studio One and Sonar Platinum, and as they are (IIRC) the only two DAWs using ARA technology with Melodyne I would not be surprised if SPlat is not far behind.  
 
Steve

That would be the icing on the cake, Steve! 
 
Since Sonar already boasts ARA technology, it does seem (from the outside, at least) that it would not be too difficult to implement this great feature entirely from within Sonar itself.
 

skinnybones lampshade
briandhughes, thank you, thank you, thank you! Your tip works perfectly! I kept trying to import the midi file by selecting file>import>midi; it never occurred to me to try file>open.
 
Even though this not as convenient as doing everything from within Sonar would be, at least it works!
 
This will make making music SO much nicer and more natural for me - it's something I've wished for for years. I'm thrilled!
 
Hurray for this forum, and thanks again, Brian!

Hi Laura.  If you are using the tempo map generated by the midi file you opened in a new project, what do you do with the original audio file you used in Melodyne to create the tempo map?  Can you just import it into your new project and it lines up?
 
I agree, it would be much easier to have this all accomplished inside SPlat.
 
Thanks.

Yes, Paul G. I just Export the Wav file from the stand-alone Melodyne, and then select an empty audio track in Sonar, and file>import>audio into that. It lines up perfectly. Have fun!
LJ

I've been really impressed with the bakers' response to user input.  It would probably be a good idea to contact support or at least write it up as a feature request.  
 
I'm guessing they are already on it based on their history with Melodyne.
 

skinnybones lampshade
briandhughes, thank you, thank you, thank you! Your tip works perfectly! I kept trying to import the midi file by selecting file>import>midi; it never occurred to me to try file>open.
 
Even though this not as convenient as doing everything from within Sonar would be, at least it works!
 
This will make making music SO much nicer and more natural for me - it's something I've wished for for years. I'm thrilled!
 
Hurray for this forum, and thanks again, Brian!

Yer most welcome. That was a feature I was really interested in as well. The sound editor is awesome too. The EQ and Harmonics is totally awesome.
Brian

ricoskyl, I have done as you suggested and posted in the Features and Ideas forum.
LJ

cparmerlee

skinnybones lampshade
I would not have upgraded for any other reason.

Of course, we all have our own priorities and needs.  For me, the ability to so easily manipulate the timbre of the instrument (by varying the strength of the various overtones) is surprisingly powerful.  This feature directly controls what we have tried to accomplish with EQ, exciters or other methods in the past.
 
I ran a bass recording into the thing last night.  The overtone package was mostly as I expected, but there were several overtones that were not at all what I expected to hear.  Being able to take them out or emphasize them is really revealing.  I am now interested to try this on several different basses to see how their timbre varies.  This might help some people make equipment choices, even if they don't use this feature in their mixing.
 

I've been thinking about the possibilities for my wind instruments. I have a good sax, and ok flute and cheap alto flute. A good flute is made from silver to dampen resonances, creating a nicer tone. Just the head (mouthpiece) of my Good flute is solid sliver. My Alto flute is cheap German silver throughout. I've wondered about melodynes ability to pull back some overtone ranges to that may help make the Alto sound like a nicer flute.
 
The mouth piece has such a large influence on the sound. Maybe manipulation of harmonics will make it sound like a different head joint of the flute, which is a neutral sounding  stock one. The same for my Sax, although a good sax, and the stock Yanigisawa mouthpiece is okay sounding. To please both clasical players and jazz players playing it, the mouthpiece sits between both, not wanting to impart too much character. Maybe melodyne will be able to subtly change this. Having looked at where they tried to make a sax sound like a clarinet, I suspect some potential is there.
 
Thinking further, If I played 2 unison lines on the same instrument, Melodyne seems like I should be able to make it sound like to different performers, or instruments (two types of soprano sax, rather than  a soprano an something else). More then just formant manipulation. Playing the second line a semi tone or 2 up, then droping the pitch back down Melodyne, adjusting the formants a little and playing with the overtones, all subtly could thickening up unison playing.
 
 

Kamikaze
... A good flute is made from silver to dampen resonances, creating a nicer tone. ...  Maybe melodyne will be able to subtly change this.

More than subtle.  I was shocked to find how a tiny adjustment to even one overtone can make a very audible difference in timbre.  I think you will be very surprised at what you can do by going down this path.