This is a very simple example of how you could use Revoice Pro, but it can solve many other, more disturbing problems.
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Then, when the synchronization was finished, I could just drag it back into Final Cut Pro X and line it up with the original before silencing the latter.Īs I had some extra time at the start of the audio recording that I didn’t have in the camera recording, I cut off the start of the separate audio track to match the in-camera recording in Revoice Pro, so I could just line up at the start of the timeline.
For that to work, I decided it was 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.
I first tried using Revoice Pro to synchronize signals between audio recorded with a video camera and an audio recorder. The Revoice Pro Warp tool allows detailed modifications of pitch and vibrato. One of its most useful features is that it enables you to protect parts of the audio signal from processing in Protected Areas - more on that below. 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. That brings with it significant advantages, such as the fact that, whatever your source app’s location may be, you don’t have to concentrate on doing things differently depending on the host’s interface. I tried it with the Logic Pro X plug-in.īecause Revoice Pro itself is a true application and not a plug-in, you are working in a dedicated app. Revoice Pro has been designed for use as a standalone application, with the plug-ins sending audio signals to Revoice Pro for further processing.
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In most cases, Revoice Pro will also reduce the time you spend on manual editing of timing, pitch, vibrato or loudness of audio signals.Įxamples of jobs for Revoice Pro in both video and audio environments include the creation of “tight” double (or multiple) tracks from multiple takes, the modification of the inflection 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 tightening the time and pitch of stacked lead and harmony parts. 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 addition, it will allow you to transfer intonation patterns from one take to another. Revoice Pro’s Audio Performance Transfer process clones timing, pitch, vibrato and level from one audio track to another.įor filmmakers and video creators, Revoice Pro is a dream app to sync alternative takes, wild tracks and ADR to the production dialogue. For example, it lets you control what a synchronised signal will sound like exactly. That opens up all kinds of possibilities in terms of efficiency and creativity. PluralEyes delivers specific and rather simple waveform alignment functionality, whereas Revoice Pro aligns signals based on energy profiles. Revoice Pro performs alignment completely differently than PluralEyes.
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Those working in a video or movie environment might be wondering about the difference between Revoice Pro and PluralEyes. In essence, Revoice Pro is a standalone application the DAW plug-ins are a system to exchange audio signals, both before and after processing. Although Revoice Pro can process the audio from FCPX, because Final Cut Pro X does not provide timecode to Revoice Pro, it is impossible to spot the “aligned” audio automatically to the right timecode in FCPX, so it must be positioned manually. The app comes with Audio Suite, AAX, AU, and VST3/ARA2 plug-ins to integrate efficiently with DAWs including Pro Tools, Logic Pro X, Studio One, Cubase, and several others. Revoice Pro 4 is Synchro Arts’ latest version of an app that not only can be used for ADR and synchronization but also for creating double tracks from one input signal, providing creative time- and pitch-modulation effects, and manually and automatically changing the time and pitch of voice and monophonic instrument recordings.
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