Recording - February 2016 - 30

PLUG-IN OUTLET
There are only a few factory presets
that come with ReVoice Pro. They
include a timing only preset, loose pitch
and timing, and tight pitch and timing. I
figure there are only a few settings so
that the user can create custom presets
that work best for different scenarios.
There's an option to share presets, which
seems like it would be cool, but I personally didn't find any situations where I
would grab and use someone else's preset. Vocals are as individual as people!
The doubler
The doubler is pretty cool. It takes a
mono source and creates a mono or

stereo doubled track based on simple settings. Those settings include delay, modulation frequency, modulation depth, randomness, formant shift, vibrato, and more.
This is where the doubler and APT plugins come into play. There are only a few
buttons on those plug-ins: guide and dub
track Capture options, and the Spot command. What it's doing in the background
is automatically importing the audio into
the ReVoice program, processing those
regions based on whatever settings you
used last, and spotting the processed
audio automatically back into your DAW.
This enables fast processing on the fly during sessions, especially if you have your
presets dialed in and chosen.
Sound and performance quality
When I'm working with new tuning
software, I'll usually test its limits by moving and stretching notes in a purposeful,
drastic fashion to see how the algorithms
deal with formants etc. I'm also nervous
when I'm exporting, importing, processing, then re-exporting and re-importing
audio between programs. I've heard
audio degrade pretty badly in the past
when I've had to do that. Simply put:
ReVoice Pro sounds the cleanest out of all
intense editing software that I've used.
30

RECORDING February 2016

In terms of processing power, the software performs fairly well. With version
3.1 all of the processing is happening in
the background, and it wasn't until I started overloading the track count and number of APT's I had running that ReVoice
Pro started lagging and hiccuping. Even
then, the resulting audio tracks never
came out with glitches or degraded
sound. ReVoice Pro interfaced seamlessly
with Pro Tools and I've had zero crashes.
Conclusion
Overall, this software is very powerful,
and will be a permanent addition to my
arsenal with the potential to replace other
editing software I've used for years. The
manual warp tuning/timing functions are
great on their own, but being able to

apply those characteristics to another
track is an editing game-changer. I've
always used different tools for different
jobs. I've even purposefully misused traditional tuning plug-ins to cut corners and
try to do exactly what ReVoice does flawlessly. The program's only downside is the
learning curve. It took some time and
work to feel comfortable and move fast
within the program, but once I did feel
comfortable, it was well worth it.
I wouldn't reach for ReVoice Pro first
when I want a quick and dirty solution to
my pitch/timing needs, but I would when
I'm intentionally setting aside studio time
to edit a vocal. I wish that ReVoice Pro
had the ability to assign and adjust the
key and tempo of my song to the timeline, so I could use more automatic editing functions to quantize or tune the material, and if only for learning purposes I
wish there were more factory presets to
try. But aside from those tiny complaints,
ReVoice Pro is well worth the investment
of time and money!
Greg Ogan (ogan@recordingmag.com)
is a recording engineer and producer in
Los Angeles. His credits include work with
Kelly Clarkson, Britney Spears, and Sean
Kingston.


http://www.placidaudio.com

Table of Contents for the Digital Edition of Recording - February 2016

Contents
Recording - February 2016 - Cover1
Recording - February 2016 - Cover2
Recording - February 2016 - 1
Recording - February 2016 - 2
Recording - February 2016 - 3
Recording - February 2016 - 4
Recording - February 2016 - 5
Recording - February 2016 - 6
Recording - February 2016 - 7
Recording - February 2016 - 8
Recording - February 2016 - 9
Recording - February 2016 - Contents
Recording - February 2016 - 11
Recording - February 2016 - 12
Recording - February 2016 - 13
Recording - February 2016 - 14
Recording - February 2016 - 15
Recording - February 2016 - 16
Recording - February 2016 - 17
Recording - February 2016 - 18
Recording - February 2016 - 19
Recording - February 2016 - 20
Recording - February 2016 - 21
Recording - February 2016 - 22
Recording - February 2016 - 23
Recording - February 2016 - 24
Recording - February 2016 - 25
Recording - February 2016 - 26
Recording - February 2016 - 27
Recording - February 2016 - 28
Recording - February 2016 - 29
Recording - February 2016 - 30
Recording - February 2016 - 31
Recording - February 2016 - 32
Recording - February 2016 - 33
Recording - February 2016 - 34
Recording - February 2016 - 35
Recording - February 2016 - 36
Recording - February 2016 - 37
Recording - February 2016 - 38
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Recording - February 2016 - 80
Recording - February 2016 - Cover3
Recording - February 2016 - Cover4
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