In a livestream titled "4.5.20 - Quick CoronaJam!" on YouTube, Mike Shinoda uses Celemony Melodyne 5 Studio, showcasing its capabilities during his session.

At 14:32 in this video from Future Music Magazine, Andrew Taggart of The Chainsmokers talks about using Melodyne for a small portion of the vocals in their track "Roses".

in the video link just after 4:20 he uses the program Melodyne to edit his friends voice. its pretty obvious because it has a unique and instantly recognisable interface. most likely uses studio because can do more than editor which he would need considering how much he's into music and probably studio 4 because it was in 2019 and studio 5 wasnt out yet.

Did you use Melodyne on these projects? In which songs, in which particular moment? Sure, used it mostly on vocal tracks of Rang de Basanti, in aim of creating fresh harmonies, reducing quivers, pitch correction etc.

How did Melodyne change the way you work with audio files? Well, we have been using Melodyne for most of the vocal corrections, but I also like fooling around with it, making harmonies and things like that. I think Melodyne is an ideal and very transparent solution for this. We also tried to make percussion sound bigger with it, using transpose and stacking functions.

In this YouTube video Tristam mentions at 00:23:43 that he had bought "Melodyne".

I bought "Melodyne", definitely, for vocals.

In an interview about Dua Lipa's vocal chain, audio engineer Ivan Meshcheriakov confirms the use of the Melodyne 5 software.

According to the official gear list on Darude's Website (Click on the studio tab), it says he owns a license for Melodyne.

8:30 Into the video. He clearly uses Melodyne 4 for editing the backing vocals.

At 1:16:59, Insan3lik3 opens up a list of his plugins. Melodyne 4 is visible.

Used sparsely for Ray's vocals on "Old Town Road (Remix)", as stated by mix engineer Andrew "VoxGod" Bolooki in this August 2019 Sound on Sound interview.

"I comp with only a click track, and sometimes I'll put a low-pass filter on the beat, playing at very low volume, so you only hear the bass in the background. I'll have very little or no Auto‑Tune on the vocals, because it's easier to comp without Auto‑Tune, and zero effects. The vocal will be entirely dry, apart from that I'll add a ton of compression, to bring up all the room and microphone noises. When you comp with the high end only coming from the vocals, you select takes not only on performance, but also on tone, particularly if they're bright. The brighter ones tend to have the best emotion, too. They may not be in time or in tune, but those things are fixable. I'll also do a lot of clip gaining when comping. When you comp in this way, by the time you're done, it's perfect. If you make the vocal sound good with just a click track, you know you have nailed it. Very little EQ is necessary, and then all you have to do is add some tasteful effects, and your vocal rides, as well as tuning and timing. But you don't have to cover up any of what you did."

(...) "Also, the Melodyne plug-in is greyed out, because I printed it." (...) Bolooki explains that he makes frequent use of Celemony's Melodyne as well as Antares' Auto‑Tune. "I usually use both. My process depends on the song. For this song, I actually didn't use Auto‑Tune on Billy's verse at all. I am really proud of how hard he worked in the booth and how little tuning was needed. The Auto‑Tunes I used on some of his chorus tracks are extremely subtle and purposely on slow, automated retune speeds along with automated bypasses so they only kick in exactly when needed with the least amount of correction possible. There was really no stone left unturned when it came to his comps. I spent a ridiculous amount of time tediously combing through all of his takes down to the syllable, so little to no Auto‑Tune was necessary in the end.

"I used Melodyne to keep the timing of his doubled parts together, since they were all recorded separately. I always have Melodyne as the first insert, then basic EQ, de-essing, compression, and then Auto‑Tune if needed. I don't use the stand-alone version of Melodyne anymore, because I like to have Melodyne and Auto‑Tune running into each other at the same time. When I have Auto‑Tune after Melodyne, I tend to not over-tune things, because for me Melodyne is basically just a timing tool. Pitch-wise you have more flexibility with Melodyne than Auto‑Tune, but each has their own strengths. Also, Melodyne purposely does not make things perfect, which I like. When you stack vocals and use Melodyne for adjustments, even corrected vocals will stay somewhat naturally out of tune with each other. So instead I focus mostly on timing in Melodyne, and keep Auto‑Tune on after it, set to a slow retune speed, and I use the Flex-Tune knob quite a bit to allow a lot of humanising."