It’s also possible to apply basic transposition and formant shift to introduce artificial variation into those stacked vocals, helping make one singer sound like many.įinally, the narrow horizontal areas between the Guide, Dub and Output lanes allow you to define Sync Points and Protected Areas, which are useful when there are significant differences between the Guide and Dub parts. The core pitches of the notes are preserved what’s matched is the variation. So, for example, you could apply Melodyne or another pitch‑correction processor to the first in a stack of harmony vocals, bounce the results and use that as the Guide for the others. This isn’t pitch‑correction as such, but a way of adjusting the similarity of pitch between takes. New for VocAlign Ultra is a Match Pitch function inherited from Revoice Pro. The most important parameter is Max Difference, which tells VocAlign how lenient to be with natural timing variations. For instance, you can set a limit on how far VocAlign is allowed to move any part of the Dub, and you can choose Alignment Rules which weight the algorithm to prefer, say, more or less time adjustment and editing. The core Match Timing function can be fine‑tuned in several, mostly self‑explanatory ways. VocAlign Ultra is one of those products that you quickly begin to take for granted. It’s remarkably efficient, so much so that it’s often easiest simply to VocAlign everything without even bothering to audition the results, only changing the settings if something leaps out at you later.
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If you have multiple takes to correct, you can easily use Pro Tools keyboard shortcuts to move the selection up or down through the tracks, hit Capture Dub again and repeat the process. There’s also a well‑judged selection of presets, which will often do the job without adjustment. A Basic mode displays only three controls to the right of the lanes, but the more comprehensive Advanced mode isn’t at all scary. The waveform of the Guide part is superimposed in blue outline as a sort of ‘target’ over the yellow of the Output, and you can choose any or all of the three parts to be auditioned. As soon as you do this, VocAlign generates an Output part as you change parameters, this is continuously recalculated so you can hear the results more or less in real time. The first step is to capture audio into the Guide and Dub lanes by making selections within the Edit window and hitting the appropriate Capture button. Open the AudioSuite plug‑in and you’ll see three ‘lanes’: Guide at the top, Dub in the centre and the Output (corrected Dub) at the bottom. So if, for instance, you want to align mutiple backing vocal takes, you’ll need to work on each one in turn. The ARA version can capture and process multiple Dub parts in one go (with the same settings), but AudioSuite is restricted to a single Guide and Dub. In VocAlign‑speak, the reference audio is known as the Guide and the audio to be corrected as the Dub.
In this case you’ll need to arrange a side‑chain feed from the reference track and capture the audio in real time before you can align it. And in any DAW that has VST3 or AU support, VocAlign can live on an insert slot on the track whose timing you want to adjust.
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In Pro Tools, it can be used as an offline AudioSuite plug‑in. In DAWs that support ARA, VocAlign Ultra can edit audio directly within the arrange window. VocAlign Ultra remains a plug‑in rather than a standalone application, and there are three basic ways to use it. The plug‑in window is now freely resizeable, which is great because you often need to view it alongside the relevant material in your DAW’s arrange page. It looks and feels much more modern, with a more conventional waveform display that features colour‑coded pitch and waveform traces. VocAlign Ultra can now match pitch as well as timing, and the user interface has been completely revamped. Now, though, Synchro Arts have embarked on a thoroughgoing overhaul using the latest Revoice Pro algorithms. Over the years, new features have tended to make their appearance in Revoice Pro the VocAlign feature set has remained simpler, to retain the emphasis on speed and efficiency.
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Synchro Arts also offer the standalone Revoice Pro, which includes all of VocAlign’s functionality plus detailed pitch‑correction, the ability to create fake double parts, and much more. Its makers now estimate that 80 percent of VocAlign users are music producers.
Over the years, it’s been made available in other formats, and is widely used for sung vocals as well as instrumental sources. Originally, it was an offline Pro Tools plug‑in targeted at post‑production tasks such as ADR (automated dialogue replacement). The raison d’être of Synchro Arts’ VocAlign is simple: to match timing between vocal recordings. After a major overhaul, is Synchro Arts’ VocAlign still an essential part of the vocal producer’s toolkit?