ampfixer
It will only work on a single voice, it's not multi-timbral. That's from the Melodyne website. You can get multiple voices with an upgrade. It sounds like a handy thing for a guy like me. I suppose I could whistle a melody and use it to trigger a cello sample. Cool.

I bought the upgrade to get multi-timbral

Can this be done live, in real time? Like singing into the mike and get it send/translate into midi into a synth?
 

Noel Borthwick [Cakewalk]
The vocal use case is pretty mind bending as well. If you are a good singer you could totally do a full virtual instrument arrangement just using your voice without using a MIDI controller.

jps
Hi , this ARA technology is fantastic !!! and how well implemented it is in Sonar ...!!! I made a little vid when I was testing it out on a guitar track , have in mind that english is not my native language :-))
 

 
All the best
Jan

Thanks for the video, Jan.
BTW Your English is excellent.

sharke
The trouble with percussion mode is that it doesn't appear to separate drums in a full drum track, even if you have Editor. You end up with each drum on the same note. It would be excellent if it could detect and identify each drum and put the hits on the right GM notes. I guess you would have to use Drumagog for that.

So is it possible for the ARA to detect snare hits on a snare mic?  What about rolls and flams etc?  Just curious because that's actually what I want, one single note for each hit because I sample 1-2 mics on a kit if needed.  I've never replaced everything and manually moving each mic to a midi track would still be 100x faster than my current workflow..!!!

For those wishing to separate drums, one technique i have been experimenting with is making copies of the clip i want to try and create midi from and using various filter methods to isolate the element of the kit. Example, I take one copy of drum break and label it "Kick Copy"  .  I apply a low pass filter and  R-mix to that track to isolate the kick as much as possible.  When using R-mix for something like this, don't get to concerned if your kick loses some of it's fatness.  The goal is isolation rather than sound quality.  Once you have the clip stripped of everything aside from the kick as best as you can, bounce the clip.  Convert that to a midi clip using the method described by OP. repeat this process for snares and high hats.  Other elements of the kit will be harder to isolate, so needless to say this method works best for small percussion kits like a three piece jazz kit.

Noel Borthwick [Cakewalk]
>>Use a single track. A multi instrument clip won't work properly
I meant you can't give it a full multi-instrument stereo mix and expect it to analyze and seperate all the parts.
There is no commercially available software that can do this today. It will handle single instrument parts however even if they are polyphonic. It does a great job on nylon string or acoustic guitars and even electric guitars for example for clean chordal parts.
I haven't tried this but if you have a multi-instrument mix with well defined stereo imaging, it may be possible to get analysis to work by using RMix to separate out and bounce the individual instruments before ARAfying the clips.

Although the results may not be quite as good, you can take a full band mix and have Editor detect it in some case.   I had done that with Brick House when I first bought Editor, and it actually worked well enough to move both bass and horn lines around.   Perfect?  Nope.   But still pretty impressive!   And I'm sure it would have been even better if it had been RMixed/EQ'd first.   

dubdisciple
For those wishing to separate drums, one technique i have been experimenting with is making copies of the clip i want to try and create midi from and using various filter methods to isolate the element of the kit. Example, I take one copy of drum break and label it "Kick Copy"  .  I apply a low pass filter and  R-mix to that track to isolate the kick as much as possible.  When using R-mix for something like this, don't get to concerned if your kick loses some of it's fatness.  The goal is isolation rather than sound quality.  Once you have the clip stripped of everything aside from the kick as best as you can, bounce the clip.  Convert that to a midi clip using the method described by OP. repeat this process for snares and high hats.  Other elements of the kit will be harder to isolate, so needless to say this method works best for small percussion kits like a three piece jazz kit.

hmmm...sounds a tad convoluted - might as well just record in a midi drum part...would take just as long I reckon However thanks for the ideas though food for thought for sure!

Joden, agreed it IS convoluted, but I can think of a few applications where it may be useful for some.   I think it is a technique more suited for hip-hop and EDM  Many engineers of these genres and sub-genres already go through ha similar process.  It is not uncommon to make copies of the kick track and process filtered versions of each differently ( example, apply slow release compression on just the sub portion of kick while applying a faster release to percussive part).  This process for them would just be another variation.

Cheers Dub - sorry I wasn't meaning to deride the process...as I said it is food for thought - well for me anyway! I will take those steps you outlined and have a go at it, but as you say perhaps more suited to the genres you work with - I am more jazz and funk/r+b oriented..but I can still see there may be times that your process will come in handy.

joden, no offense taken at all. :)  I agree it is a lot more work than most people would want to undertake and completely useless for complicated drumming like there is in metal.  I'm not a hip=hop producer either.  My vocation requires me to dabble in all genres of music and my son is very into hip-hop so I study techniques.