Melodyne in Logic with ARA – what’s different

  • New: Melodyne in Logic with ARAIn this short film, you can see the advantages of Melodyne’s ARA integration in Logic.

Thanks to ARA integration, the interaction between Logic and Melodyne is many times faster, simpler and more powerful. From this tour, you will discover what changes are involved and what else needs to be borne in mind.

Required versions and compatibility

To exploit the advantages of Melodyne with ARA in Logic, you require Logic Version 10.4.3 and Melodyne Version 4.2.

If you open old projects with this program configuration, Melodyne is integrated in the form of the Transfer plug-in, as was previously the case. All your Melodyne editing is preserved and you can continue modifying it. Naturally you can also apply new Melodyne editing to older projects via ARA.

Inserting Melodyne with or without ARA

In the channel insert, you can choose either of two Melodyne variants:

  • “Melodyne”, which, as before, receives its audio data from Logic by means of the Transfer procedure. This variant is important inter alia for compatibility with older projects.
  • “Melodyne (ARA)”, which communicates with Logic via ARA and therefore no longer requires transfers. To see the audio notes of the track in Melodyne, you must first update the display by commencing playback in Logic. This is necessary because the architecture of the two programs is different and they only exchange information at certain times – notably when you commence playback.

Please note that “Melodyne (ARA)” can only be used in the first insert slot in the channel strip.

Rearranging regions – Melodyne follows

Previously, it was not possible to edit a region on the Logic track after a transfer, because the material transferred to Melodyne would not reflect the resulting changes. With ARA it does; the interaction between the two programs has been greatly improved. Now, if you perform in Logic any of the following operations on regions already transferred to Melodyne, the ensuing changes will be reflected in Melodyne as soon as you press Logic’s Play button (why this is necessary is explained in the previous section):

  • moving regions
  • expanding or contracting region limits
  • copying, repeating, cloning (making aliases of) or looping regions
  • applying gain to regions
  • fading regions
  • muting regions
  • creating track alternatives



For comping, ARA integration brings enormous advantages, as each take “remembers” its own Melodyne editing. You can therefore optimize each take with Melodyne before deciding upon the exact comping schedule. You also have two different editing modes to work with, Clip Edit and Track Edit; these offer simple and elegant solutions even to such tricky comping problems as those posed by overlapping notes.

Transport functions

Thanks to ARA, you can also control playback and cycling in Logic from within Melodyne. That means fewer mouse movements and lets you to work more swiftly.

Apple Loops and Flex vs. Melodyne

Apple Loops and Flex vs. Melodyne
“Melodyne (ARA)” and Apple Loops or Flex algorithms are mutually exclusive. For this reason, the Melodyne window on tracks or regions containing Apple Loops or Flex algorithms remains empty.
If you nonetheless do wish to use “Melodyne (ARA)” in such cases, you must first bounce the tracks or regions in question and then edit them on a different track.

Reverse audio

If you change the playback direction of a region in Logic, you must bounce it too before you can edit it with “Melodyne (ARA)”.

Tempo operations

Logic does not take advantage of all the tempo adjustment possibilities of the ARA protocol. The implications of this are threefold:

Apply Project Tempo
Under certain circumstances – such as when working in the new Clip Edit Mode or Note Assignment Mode or when copying blobs – you must apply the “Transfer Project Tempo to File(s)” function to each Melodyne track, to ensure notes are correctly displayed.

Changing the song tempo
If you change the song tempo when you have already begun editing it with “Melodyne (ARA)”, the regions do not automatically follow the new tempo. The “Tempo adjustments” tour shows you how to get round this problem quickly.

Combining recordings with different tempos
Sometimes you will wish to work with recordings or samples that do not share the same tempo as your current song. This is a job either for Logic’s Flex engine or for Melodyne. Which to use when, and how exactly to go about it, are also explained in the “Tempo adjustments” tour.

File management

You no longer need to worry about transfer files when archiving or passing on Logic songs. Thanks to ARA, such housekeeping chores are taken care of automatically.