bitflipper
Full Melodyne can do everything V-Vocal can do, and then some. It's especially adept at drawing in pitch transitions, something you have to do with great care in V-V in order to avoid artifacts but is transparent in Melodyne. Even drastic changes. Melodyne's paradigm is different and not as immediately intuitive as V-V, but once you get going it's quite fast to work with.
That said, I have to admit that I still use V-V more often than Melodyne, reserving the latter for only the most critical parts. V-V is just so darn convenient.
Of course, the secret to pitch correction is a) get it right into the microphone at the start, and b) don't sweat the small stuff. I actually use zero pitch-correction on most tunes these days, or only a couple tweaks here and there. The trick is to not look at those little lines. They make you think that edits are necessary, whether they really are or not.
Thanks bitflipper...
This piques my curiosity of Melodyne Editor even more... What could it possibly do (other than polyphony) that VV does not?
I too find VV good and expedient and have done some amazing things with it... the limited version of Melodyne is almost useless to my other than it's simple and accurate audio>MIDI conversion so well implemented in Sonar... I've had to do a bit of drum replacement from audio tracks to MIDI samples lately and that feature is wonderful!
So, maybe you can answer my originally intended question... Does Editor allw more extensive spread control range?
I do pitch correction wherever and whenever my clients or I are bothered by an issue. I don't do it off the bat or for whole performances... A little bit of human goes a long way! (Tho a Lot of human goes too far! ;-))
Keni