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Revoice pro 4 logic x free download.Revoice Pro 4
Despite the smooth setup I must confess to finding it tedious constantly switching between application windows. Of particular frustration was my instinctive use of the spacebar to stop the track while the Revoice window was in focus. On these frequent occasions the Revoice transport stopped while the rest of the project continued. A dual monitor setup may have helped but a mapped MIDI transport would have been ideal.
What follows is a further settings dialogue for that specific processing instance. These settings configure either the algorithms used to analyse the pitch and timing of audio, in the case of Warp, or define the processing settings for APT and Double.
All can be opened and tweaked at any time. Preset settings can be saved for different applications and shared with other users. While the factory settings were a good starting point, I preferred to refine and store my own settings. Many of these adjustments result in immediate process updates and in a few cases a resultant lag in fader response was produced on all test systems. While this was described by the incredibly attentive support staff as a known trade off rather than a bug, I think it warrants further attention.
The Warp process is where all of your manually applied vocal tuning will be managed. As a long term user of the more basic Melodyne packages I thought Warp sounded great. The ability to manipulate and even redraw the curves of note transitions is at times a revelation and reminds you that often what we value is not necessarily perfect pitch, but rather increased control.
Not surprisingly, the Double process addresses this allowing you to create automatic double tracks by modulating the pitch and timing of the duplicate. A randomness control adds to the natural variation while a formant shift produces further tonal variation. Extreme settings can be used to achieve a range of very effective chorus effects.
Create an extra double with heavier modulation settings and then ride its level in the mix as an accent or to just keep things moving. I found the processing to be equally effective with spoken and sung vocals, and monophonic instrumental parts, and comparisons with recorded doubles were favourable, if different.
I could write another entire piece on APT, alone. For me, this is the process that takes Revoice Pro to another level and perhaps more importantly makes it a useful tool for anyone working with music or dialogue. APT analyses the timing, pitch and volume energy of a Guide track and allows you to apply those control sources to a Dub. Each of the three has its own configuration settings and can be enabled or disabled. Protected areas can also be defined within a dub to prevent certain phrases from being warped, and the degree of pitch and timing control can also be automated.
I found a use for the Dialog mode on some double tracked rapped vocals and the result was impressive, even when the dub was soloed. When used for musical recordings APT allows you to enhance the holy grail of ensemble performance; blend. I found myself disabling the pitch processing and tightening up both the timing and volume emphasis of harmonies and doubles. Just like my experiences with the manipulation of pitch transitions, the matching of phrasing and level reveals just how important these other elements are.
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