Revoice Pro Monitor

[Robert]

Inthe broadest terms, Revoice Pro is an editing and processing multi-track program in which mono and stereo audio tracks are either processed (Dub and Warp tracks), act as analytical sources for control parameters (Guides), or are output as the product of one of these processes. Many tracks will end up being used for dual functions, with some producing new tracks that then act as guides or dubs for another generation of outputs. Alternate audio segments can even be archived in playlists of up to four layers to allow further experimentation. Things can get pretty complicated, if you let them.

In standalone mode, Add audio file and Export modes perform as you would expect, along with the ability to save Revoice sessions with associated files. This is particularly convenient for later tweaks. In my case, I used the Revoice Pro Link and Pro Monitor plug-ins to transfer audio from my DAW into the multi-track layout of Revoice, then back again. While not quite automatic, configuring this connection was straightforward and worked as expected.

Once a link is enabled, Revoice slaves its playback to the transport of the linked DAW, with a mix of all active tracks fed back to an auxiliary return channel in your main project. Despite the smooth setup I must confess to finding it tedious constantly switching between application windows. Of particular frustration was my instinctive use of the spacebar to stop the track while the Revoice window was in focus. On these frequent occasions the Revoice transport stopped while the rest of the project continued. A dual monitor setup may have helped but a mapped MIDI transport would have been ideal.

I could write another entire piece on APT, alone. For me, this is the process that takes Revoice Pro to another level and perhaps more importantly makes it a useful tool for anyone working with music or dialogue. APT analyses the timing, pitch and volume energy of a Guide track and allows you to apply those control sources to a Dub. Each of the three has its own configuration settings and can be enabled or disabled. Protected areas can also be defined within a dub to prevent certain phrases from being warped, and the degree of pitch and timing control can also be automated.

Natural sounding vibrato is one of the treasures of the human voice. In the past any time-based manipulation of vibrato within vocal production software resulted in the speed of vibrato changing along with the duration.

With Revoice Pro 4, vibrato can now be time stretched or compressed naturally and without affecting the speed therefore maintaining the singers original tonal characteristics - a first within any vocal production software!

Audio Random Access (ARA) is a revolutionary new audio plug-in extension that enables unprecedented instant communication between a plug-in and the host DAW. For Revoice Pro users with compatible host DAWs this means an exponentially faster workflow with no capturing or spotting process of audio required - just update a process within revoice pro and see and hear the updates instantly within your DAW.

There are still a LOT of large studios with large speaker systems. Many in the film industry post mix arena. A lot has to do with realestate. The former RCA studios in Chicago had couches in front of the mixer and plenty of room to the window into the studio. Large monitors were soffit mounted.

Not quite, mixing, and mastering are done (at least by the good ones) with full range "audiophile" grade speakers. Again, the good ones do this. Doug Saxe, Bernie Grundman, etc., etc. Many don't, and it explains why there is stuff "missing" on the end product. If you can't hear it when you mix it, and then master it, it's a coin toss on whether it's going to be in the mix or not. This has changed greatly with digital domain, and digital work stations when you can visualize the content.

Recording/tracking is done with near and mid-field "studio monitors" with cans mixed in for, as you say, the real work. Getting the sound on whatever format you are working with, analog tape, digical tape, hard drives.

I've thought the same thing, though. There have been studios that have used different Klipsch models. Bradley's Barn in Nashville used some. Burl Audio has some in the studio they test and use their products. I'm sure there are lots more.

Yes, for Matt Whatley at Comb Over Mastering, a former Klipsch employee. I believe he worked with Artillery @Trey Cannon when he was there. He mixed and mastered this album that is absolutely stunning, and Roy has 3 track in his demo rotation. Pretty amazing on the Jubilees.

This is one of Roy's current test tracks, he has a specific reason for using this particular track, he would need to explain it, I sure can't, but my pour attempt at paraphasiing is that a motor needs to start quick, not doubt, but it also needs to stop quick, and he says this track below helps him check that particular aspect.

Honestly, I'm surprised they haven't already. Studio monitors is a what - multimillion/billion dollar industry? And with the quality that Klipsch brings to the table, I think they could blow this market wide open. I, for one, would absolutely love a pair of Klipsch studio monitors for my computer.

Cherokee Studios had some Klipsch in them, and I think they used the RB-5 as a mix down monitor for a while. I always thought the RB-75, with revoice, would have been great for that kind of thing.

In windows can you please get rid of the floaty menu bar and embed it back inside the window please- its annoying and wastes space on my second monitor when I stretch mix across my dual monitor set up

It is also a pain because if you want to minimize Cubase you have to do it in 2 steps - minimize the Project and then minimize the Cubase program itself. No other Windows Program I use ever behaves this way.

The fact that Using Several Audio Applications Simultaneously is possible and is not your default tells me that you are either not concerned with user experience or that there is a lack of awareness of UX/UI.

The 500 Series is made up of interchangeable components that can be easily inserted into a frame. And despite what you might think, it's actually quite simple to use - no advanced tech skills needed! Just insert the module into a free slot and connect its input and output on the back - and you're ready to rock!

With the 500 Series, you'll have access to a vast selection of audio devices that are also available in rack or desktop enclosures. From microphone preamps and equalizers to compressors and beyond, the options are virtually endless. And if you're looking for something a little more unique, there are even de-essers, reverbs, headphone amplifiers, and monitor controllers available in the 500 Series format. So go ahead, dive in and explore all the possibilities 500 Series has to offer!

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