As before, Revoice Pro 3 operates only as a stand-alone program, but it is now available for Windows as well as Mac OS. For the first time, Revoice now includes pitch-correction, with a focus on the sort of detailed manual editing of pitch and timing that you can only really achieve in an offline application, rather than a real-time plug-in. The major developments in the new version 3 of Revoice Pro see it go head to head with products such as Auto-Tune and, especially, Celemony’s Melodyne. It could also create convincing impressions of a double-tracked performance from a single source. Synchro Arts exploited the musical potential of their technology further with Revoice Pro, version 2 of which was reviewed in SOS May 2013 ( Revoice Pro 2 incorporated the company’s trademark phrase- and time-matching features, but took things further by allowing the user to transfer not only the timing of a performance but also its pitching, along with other qualities loosely described as ‘energy’. It’s invaluable for dialogue replacement, but also very handy when working with stacked backing vocals in a music production. As that name suggests, VocAlign’s forte lies in taking different takes of the same vocal performance and matching their phrasing. In film dubbing and post-production circles, Synchro Arts’ VocAlign is to dialogue replacement what Antares’ Auto-Tune is to pop production: a product so widely used that its name has become a generic verb describing its function. Thanks to the addition of powerful pitch-correction and manual time-warping features, Revoice Pro 3 offers a complete vocal-processing toolkit. Compare the top and bottom tracks and you’ll see that the timing has been subtly altered to fit the lead vocal better. The track at the bottom has been created by applying the APT Process using the lead vocal as a ‘guide’ and the backing vocal take at the top as a ‘dub’. The zoomed-in track in the centre is my lead vocal, which I have made into a Warp Region, as you can see from the note blocks and pitch line superimposed over the waveform.
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