Revoice Pro 4 lets you do ADR, double-track generation and more

Revoice Pro is used worldwide by audio professionals for adjustment and alignment of vocals, instruments and ADR as well as double track generation. I tested the app using several recordings from audio as well as video sources.

Revoice Pro 4 is Synchro Arts’ latest version of an app that not only can be used for ADR and synchronisation, but also for creating double tracks from one input signal, providing creative time and pitch modulation effects, manually and automatically changing the time and pitch of voice and monophonic instrument recordings and spectrum analysing signals.

The app offers tools for DAWs like Pro Tools, Logic Pro X, Studio One, Cubase and others, while also offering a plug-in for Final Cut Pro X. However, the latter doesn’t work because Final Cut Pro X does not provide timecode to Revoice Pro, making it impossible to spot “aligned” audio.

In essence, Revoice Pro is a stand-alone application, with the DAW plug-ins being a system to exchange audio signals (before and after). I first compared it with PluralEyes, but that one delivers specific and rather simple waveform alignment functionality, whereas Revoice Pro aligns signals based on energy. That opens up all kinds of possibilities in terms of efficiency and creativity. For example, it lets you control what a synchronised signal will sound like exactly.

For filmmakers and video creators, Revoice Pro is used to sync alternative takes or wild tracks and perform ADR to a production dialogue. In addition, it will allow you to transfer intonation patterns from one take to another; it will even do that with a director’s audio input or let you start from scratch and create the weirdest intonation patterns you’d like.

In most cases, Revoice Pro will also reduce the time you spend on manual editing of timing, pitch, vibrato or loudness of audio signals.

Examples of Revoice Pro in both video and audio environments include the creation of “tight” double (or multiple) tracks from multiple takes, the modification of the inflexion of spoken phrases from one actor’s take to match another take of the same or a different actor, the creation of one or more realistic double tracks from a single input track and the tightening of the time and pitch of “stacks” of lead and harmony parts.

I tested it with the Logic Pro X plug-in.

Because Revoice Pro is a true application and not a plug-in, you are working in a dedicated app. That brings with it significant advantages, such as the fact that – whatever your source app location may be – you don’t have to concentrate on doing things differently depending on the host’s interface. It also allows you to implement multi-input processes and use a “region-based processing” approach in which inputs to processing modules are inserted where required along the timeline in Process Control Tracks. One of the most useful features, in my opinion at least, is that it enables you to protect parts of the audio signal from processing.

Experiences

I first tried using Revoice Pro to synchronise signals between audio recorded with the video camera and an audio recorder. For that to work, I decided it best to export the audio from the Final Cut Pro X timeline, feed it to Revoice Pro by dragging the resulting file to the Desktop and adding the audio recorder file. Then, when the synchronisation was finished, I could just drag it back in Final Cut Pro X and line it up with the original, silencing the latter.

As I had some extra time at the start of the field audio recording that I didn’t have in the in-camera recording, I cut off the start of the former to match the latter in Revoice Pro, so I could just line up at the start of the timeline.

This is a very simple example of how you could use Revoice Pro, but it can solve many other, more disturbing problems. For example, I tested the same sort of synchronisation with an audio recorder file where the signal not only differed at the start but also drifted out of sync further down the recording.

This is a problem that would be impossible to correct with an app that only synchronises waveforms, but as Revoice Pro syncs signals based on energy, a read-up of the user guide and a few tweaks did the job.

This will even work when you feed Revoice Pro with an audio signal that drifts out-of-sync a full five seconds. When I tried that, Revoice Pro synchronised the two at the start of the recording, let me set the timing of the result to a different alignment mode and recalculated the outcome so that I ended up with two perfectly aligned clips at both start and end. To avoid lip syncing to go badly wrong, I inserted Protected Areas in those spots where you could see the actor’s mouth. The result was a voice-over that sounded perfectly OK and at the same pitch as the original.

Protected Areas let you start and stop edits where you want along the audio track. This the protection feature I mentioned earlier and which I personally find one of the most important features of the app. They allow you to protect pitch, timing or both in specific areas of the signal. For example, if the intonation in a voice-over or song is best left alone in some areas, Revoice Pro lets you protect these and change only where it’s needed.

Revoice Pro lets you process parts of audio signals differently from others as well. By selecting only part of a track and adding a new process to the same output track, you can create Process Control Blocks. They’re called “Blocks” because they actually create a different effect per block of audio anywhere you want on the track.

For example, when you have a recording that is too silent in only some areas of your recording, you can create a Process Control Block that lets you turn up the volume in only those areas.

Of course, this sort of flexibility and processing power lets you not only fix audio or put it in sync with a master recording, but also create wildly creative sound effects that can sound pretty much otherworldly and which aren’t limited to vocal tracks either.

Conclusion

If you’re only after a synchronisation app for your movie or video, Synchro Arts has a dedicated offering besides Revoice Pro – VocAlign – but if you have the budget, my advice would be to go with Revoice Pro for multiple reasons:

  • For voice-overs to closely sound like the original and run in sync with it
  • To simply sync recordings accurately and based on the signal’s energy
  • To sync audio that is drifting over time
  • For creative effects with vocals and music.

Revoice Pro is used by professionals all over the world, both in sound engineering and video. Version 4 costs $599.

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