If you're using Melodyne's polyphonic algorithm in the Editor and Studio versions to convert polyphonic guitar parts to MIDI (which is an incredibly powerful and useful way of creating synth parts if like me your skills lie on the fretboard and not the keyboard), then be sure to turn your guitar's tone pot all the way down when recording the guitar part. You end up with a much duller tone which does not have anywhere as many of the kind of harmonic content which Melodyne misinterprets as notes. As a result your MIDI is far more accurate and requires less editing. 
 
I keep forgetting this and end up spending ages deleting the bad notes. Tonight I recorded quite an intricate, fast piece of fingerpicking with the tone pot all the way down and I was really blown away by how well Melodyne converted it. I should think this advice also applies to the melodic algorithm as well, but it's especially useful for the polyphonic algorithm. 

Thanks for the great advice.  I just last week used this Melodyne feature to turn some "real" electric guitar playing into a Kontakt MIDI banjo track and I did have to deal with some of those stray harmonic notes.  Next time I'll cut out those highs and just use the neck pickup.
 
This is an amazing tool which I have only used sparingly until now.  I was even able to create some great fast banjo rolls and strumming riffs straight from my strummed guitar track with only a modest use of time correction.  It did help that I was using the great Bluegrass Banjo v.3 from Bolder Sounds, but I imagine it would work with other stringed instruments as well.   I didn't even have to use their canned MIDI files.   http://www.boldersounds.n...18&products_id=131
 
Play on brother.
 
Aloha, Bill

Great info. Thanks for sharing. 

Great advice - thank you

I would have assumed the opposite would have been true - to give Melodyne a "clearer" sound - but this sounds like a great trick that I will definitely be trying!!!

If you've already recorded and forgot, consider running the already recorded clip through a LPF/EQ and bouncing it before initiating Melodyne. Seems like it would have the same effect, or near enough.

Sanderxpander
If you've already recorded and forgot, consider running the already recorded clip through a LPF/EQ and bouncing it before initiating Melodyne. Seems like it would have the same effect, or near enough.

Yep and that's what you'd do if, say, you were intending to keep the guitar part to use in the track but also wanted to double it with a MIDI part. Make a copy, apply LPF, bounce it and convert.

I use de-essing as well, not just with Melodyne but before going into amp sims.

Which polyphonic mode do you use?  "Sustain" or the other one (can't remember the name)?  Do you know what the difference is?  I just opt for the sustain one for now.
 
Nevermind.  Got it:
http://helpcenter.celemon...oup.melodyne-reference

I find Jam Origin's guitar to MIDI software also tracks better using the neck pickup with the guitar tone rolled off. Not surprising I suppose, if you look at an electric guitar's output in an oscilloscope the waveforms are all over the place with the tone control(s) wide open. Loads of harmonics that keep varying in frequency and relative strength. Rolling back the tone and using the neck pickup provides a signal that's much more focussed on the fundamental frequency.

The same "trick" works well with Hendrix-style analogue octave fuzzes.

How about this:
You have a lead guitar track, recorded at the bridge pickup with all the high end harmonics intact.
Insert an EQ into the FX rack and roll off the high end.  As much as you want.
Insert Melodyne into the FX rack below the EQ.
Do your Melodyne editing.
When done, bounce to clip.
Then turn off the EQ.
All the high end harmonics restored?
Or should you turn off the EQ before the bounce?