You can get there, however, by exporting the lead sheet generated by Melodyne, importing this into Cubase, and using it to fill in the Cubase chord track. The return path – which amounts to the remote control or automated filling-in of the Cubase chords by Melodyne, for example when it comes to discovering the chords contained in polyphonic audio recordings – is not yet realized via ARA in the current Cubase/Nuendo versions.
#Extract chords melodyne 3 full
This gives you full access from the Cubase chord track to both MIDI tracks (directly via Cubase) and audio tracks (from Cubase via the remote-controlled Melodyne). Thanks to ARA, this is easily done: You can display the chords from Cubase within Melodyne and in this way quasi-control the Melodyne chord track remotely from Cubase. What this means for your workflow is that you will probably want to combine the two chord tracks. Just my prediction, but since Melodyne 5 is doing the heavy lifting for extracting chord information and enabling snapping of audio to chords and scales, REAPER will probably provide a global Chord Track which would be a container to store and display the chord names created by Melodyne (or REAPER), but not have any actual effect on MIDI or audio. However Melodyne cannot examine MIDI tracks (unless you have previously converted them to audio signals by bouncing them).
With Melodyne, it’s the other way round: Melodyne can recognize the chords in any audio track and generate a lead sheet for it with blinding speed. The Cubase chord track can derive its contents from an analysis of previously recorded MIDI tracks but is incapable of analyzing polyphonic audio tracks. Melodyne and Cubase each have their own chord tracks – each with its own advantages: The Cubase chord track can control all the MIDI tracks, whilst the Melodyne chord track can control all the audio files – and even polyphonic instruments.
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