My 2 cents:
ReVoice is one of the most bangin’ tools for music and film production.
If you’ve been around a while doing this kind of thing, you may be familiar with Antares, Melodyne and all the pitch correction stomp box panels that are available these days.
The newest and most exciting one I’ve experienced to date is ReVoice. As far as pitch correction and contouring vocals it doesn’t seem quite as robust as Melodyne, but its original design was for replacing dialogue in film and syncing it up correctly without having to do a trial by error matching process. It will sync the new recording done in post-production in the studio with a section of film audio containing undesirable background noises such as highways or airplanes etc. This technology is used extensively in film. It’s called automated dialogue replacement. ADR is the process of re-recording dialogue by the original actor after the filming process to improve audio quality or reflect dialogue changes. I never heard of it until recently, probably because I’m not in film.
In our projects we rarely have more than one person track vocals at a time and I recently had a situation where I needed nine vocalists that all came in for separate sessions and recorded their parts. All of the vocalists were competent performers, but in the play back of all nine vocals, they were anything but together. It represented more of a drunken sailor type of the sound; they were all over the place. I was starting to imagine the hours and days and weeks I was going to have to sit in front of Melodyne to sync these up. I use Cubase and Melodyne integrated into each track, I believe it would’ve taken pretty close to forever to get these nine vocals to line-up as if they were singing in sync.
So, I saw this software called ReVoice Pro 3 and it did an absolutely amazing job . There’s a bit of a learning curve but it’s not unreasonable for software that does this level of processing. I spoke to the guys at the company a few times and they’re terrific to work with. They were extremely helpful when I got stuck and I was able to complete the project in MUCH less time than I was fearing.
When I got to listen to the final playback, just before mastering, I was more than very impressed. I even had to go back into the project and back-off on the processing because they were getting too perfect and too tight (even Disney singers couldn’t sing this tight).
Now, if someone doesn’t already work with Melodyne or Antares software, ReVoice Pro 3 could be a one-stop shop solution for you it has fantastic algorithms for pitch correction and it has all kinds of seamless corrections to deal with various digital anomalies that can come up in this type of project.
At the outset, I had compared ReVoice Pro 3 with Melodyne but in my personal final analysis, they are very different animals which crossover on some of the tasks that they will handle, but there are things that ReVoice Pro 3 will do that are very difficult to do in Melodyne and things you can do with Melodyne that are extremely difficult to do with ReVoice Pro 3. For me, sometimes it takes more than one piece of software to complete a project properly.
This is my personal perspective. Someone else may feel totally opposite, but that’s why there is chocolate and vanilla. They’re both great, their just different flavors of the same thing. Ice cream or cake or whatever.
So that’s my two cents and I hope you got something from it. Feel free to comment I’d like to hear your experiences.
Visit below for a couple of samples of the finished product of tunes with stacked unison up to 9 parts:
That’s my 2 cents, don’t spend it all in 1 place.
-live the dash