I am experimenting trying to do multi-track vocals using Melodyne. Just playing around to see what can be done.  Is there a way to color code blobs that one copies to create harmony? If not color coding is there another way to separate and keep track of the copied and newly created  blobs?

As far as I know there is no way to color code Melodyne blobs. My only suggestion would be that you copy the vocal part to a new track and use Melodyne to transpose the new part to a harmony. That way you can have each harmony on a separate track and know exactly what's what. 

I've never come across such a facility and I've been using Melodyne for over four years.
To create harmonies I just clone the main vocal track and work on the clone, so I don't need to separately identify blobs.  Or have I misunderstood your question?

I'm new to the art so I really appreciate your ideas.  I've used them to create a multi-track of Love Is A Many Splendored Thing.  Check it out on my YouTube Channel http://www.YouTube.com/user/cpkoch . Thoughtful comments are welcomed.
 
It took me a couple of days to iron out a process that works.  The one suggested, about  cloning the same vocal for each part and then rendering each in Melodyne, is most efficient I found.  I separately created the harmonies with each track using only the Backing track as a guide and then bouncing the vocals to a single track.  Finally I bounce the vocals with the backing track to create the final version.

The mix is pretty quiet, but I like the vocals! Those harmonies were all done with Melodyne? That's pretty good going. However, I have to say - you have a damn good voice, is there any reason why you didn't just sing all the parts manually? 

 
 
Thanks Sharke, for your kind remarks.    I am quite new to this game  ... call it an art!  Someone else suggested that I should record the songs with a higher volume.  Is that what you mean about the mix being "quiet" ... i.e., turn up the gain?   
 
As to why not do all live vocals ...
I have listened to Peter Hollens https://www.youtube.com/channel/UCgITW_70LNZFkNna7VsXbuQ and have been impressed with his and his wife's acapella productions.  Others have also produced some great multi-track stuff as well.  I tried messing around with Multi-track using Audacity and/or NCH Wave Pad and the like  but became a little frustrated as I tried syncing the several parts.  It occurred to me that Melodyne can be used to eliminate that issue. Consequently I decided to give it a go. It works well from that viewpoint but still care must be exercised.   In my final version, I know that the sync is off in a few spots .  
 
Moreover it offers me  an excuse to learn the intricacies of Melodyne.   As I continue my project  I'll play around with Sonar Producer and do real live vocals on all parts.  Sonar is much easier to do synchronization that the freebie stuff I was working with a year or two ago,  

cpkoch
Someone else suggested that I should record the songs with a higher volume.  Is that what you mean about the mix being "quiet" ... i.e., turn up the gain? 

Two issues: a) Total level is probably not high enough, and b) the accompaniment seems too quiet compared to the vocals.
 
It could be that just bringing up the overall gain will make the accompaniment apparent enough.  Do you have a limiter plug-in?  If so, drop that on the master bus as the last effect and use the limiter controls to bring everything up.  (If you have Producer, then you should have the "Boost" limiter.)
 
If you want to get more sophisticated, you can use side-chaining techniques to automatically push down the accompaniment a little whenever the voices are there, and then bring the accompaniment up between the vocal lines.  Too much of that effect is obnoxious, but a small amount can be very helpful.

Like someone once told me ... "I'm not sure I understand all I know about what you said".  None-the-less thanks for the tips.  I am not up to speed on the limiter nor have I heard of Side Chaining.  That sound like a very powerful tool.  I need (and will) look into using both.   Thanks again CPARMERLEE      

cpkoch
Like someone once told me ... "I'm not sure I understand all I know about what you said".  None-the-less thanks for the tips.  I am not up to speed on the limiter nor have I heard of Side Chaining.  That sound like a very powerful tool.  I need (and will) look into using both.   Thanks again CPARMERLEE      

Boost works fine as a limiter, and you should have it in your Producer system automatically.  I strongly recommend you add this to EVERY project, as the last effect on the main bus.  That will protects against distortion and speaker damage.  It also provides an easy way to bring up the overall gain level, in a safe and musical way.  Very easy.  Just locate Boost in the explorer and drag it onto your mast strip, making sure it is in the bottom (last) position.  Lately I use Cakewalk's Concrete Limiter.  It runs as a ProChannel module and I think it sounds a little better than Boost.  It is not included in Producer.  That is extra money, but not too much considering you will use it on every project.
 
Side chaining is a bit more involved, but not that hard.  Here are the steps in general.
 
Step 1: Send all your vocals to a new bus that has nothing but the vocals.  Don't send the vocals directly to master.  Instead the vocal bus will go to the master.  This is a good thing to do even if you are not side-chaining because you may want to apply some effects (compression or reverb e.g.) to the vocal mix without affecting the accompaniment tracks.  After you have done this step, your mix should sound just as it did before, but now you have the extra level of control of all the vocals at once.
 
Step 2: If you have more than one accompaniment track, send all the accompaniment tracks to their own bus, just as you did with the vocals.  Now you have two sub-masters: one for vocals and one for accompaniment.  Again, the mix should sound the same as before.
 
Step 3: On the accompaniment bus, insert a compressor that can accept a side-chain.  Open up the ProChannel on the accompaniment bus.  There will probably be a compressor there already.  The Producer version comes with a ProChannel compressor that accepts side chains.  That is called "PC4K S-Type Bus Compressor".  If that isn't already on the accompaniment bus, then add the PC4K and remove any other compressors to keep things simple.  Please note that the PC4K has a switch near the bottom that says "S Chain".  It is off by default.  Set that switch to the up position to allow a side chain.
 
Step 4:  Now go back to the vocal bus.  That bus should have its output sent to the master mix.  But you will also need to send this bus' output to the PC4K compressor.  So add a send.  When you do that, you will see a list of destinations for that send.  One of those destinations should be that compressor you just set up on the accompaniment bus.  Select that one.  It should say something like "Bus compressor - Accomp"
 
Step 5:  The mix should still sound the same.  Steps 1-4 were just for set-up.  Now you are ready for some fun.  Go back over to the PC4K compressor on the accompaniment strip.  While you are playing a section that has loud accompaniment while the vocals are singing, adjust the compressor's threshold until you see the needle move a little.  If you have everything set up right, whenever the vocals are strong, that should cause the accompaniment to compress.  You an play with the attack and release controls until you get a natural sound.  The objective is to let the vocals be heard better, but with only subtle compression that doesn't sound like somebody shut off the accompaniment.  You will be surprised at how a small amount of compression can bring out those vocals.
 
Just for clarification, that extra send from the vocal channel doesn't end up in the mix.  It simply goes to the PC4K compressor to tell it when and how much to compress the accompaniment.
 
Good luck.
 
P.S.  Make sure to use the stereo field to help the vocals be heard too.  You might want to try setting the stereo field wider on the accompaniment and narrower on the vocals to keep them in the middle of the mix.  If you have a bunch of separate tracks for the accompaniment, then you can simply pan those accompaniment tracks wider.  If the accompaniment is a single track that came from another source, you can insert Cakewalk Channel Tools (which you should have) on the accompaniment bus to widen that stereo field.  (Or better yet, the Blue Tubes Stereo Imager, if you have that.  It is easier to use and I feel like I get better results with that one.)

ap

cparmerlee
 
Boost works fine as a limiter, and you should have it in your Producer system automatically.  I strongly recommend you add this to EVERY project, as the last effect on the main bus ....

 Thanks for the very complete and valuable tutorial.  I've started to apply the techniques/processes to Love is a Many Splendored Thing. The idea is that when I am finished I will post the resulting audio separately so that I don't lose track of the hits on my YouTube Channel.  I did the first process and noticed a tremendous amount of reduced clipping using Boost 11.
 
I still need to give the Side Chaining process a workout. Again ... thank you!