Download Revoice Pro for Mac

In the edit

Revoice Pro handles up to two tracks of audio at once — a guide and a dub — and that is enough for most vocal fixes in a session. The workflow runs through three tools in order: SmartAlign, then Shaper Tool, then SmartPitch. SmartAlign locks the timing of the new take to the guide, even when the two parts start or end at different places on the timeline. Once the timing sits right, Shaper Tool lets you nudge pitch curves by hand without the usual robotic warble. SmartPitch finishes the job by matching the pitch of doubles and harmonies so they sit inside the same chord, not next to it. The result is a layered vocal that sounds like one person sang it three times, not three separate performances glued together.

Running SmartAlign before listening to source tracks is the most common slip

The most common slip I see is running SmartAlign on everything before listening to the source tracks. People hit Process, hear something weird, and assume the tool is broken. Nine times out of ten the guide track itself has a stray breath or a clipped word that throws the alignment off. The fix is to trim the guide region to the part you actually want matched, then run SmartAlign again. Revoice Pro does exactly what you tell it — it just can't guess which bits you meant to keep.

Another one is cranking the pitch correction in Shaper Tool too far, too fast. Beginners grab a note, drag it to where they think it should be, and wonder why the vocal sounds phasey or thin. Shaper Tool is meant for small adjustments, not whole-note transplants. If a singer is consistently flat across a phrase, it is usually better to re-record or comp a better take than to ask the software to fix a semitone gap across several syllables.

People also forget that SmartPitch works best after the timing is locked. If you match pitch first and then align timing, the pitch correction gets stretched again during alignment, which doubles the processing and can introduce artefacts. The order matters: timing first, pitch second.

Revoice Pro not appearing in your DAW after installation

A frequent headache is Revoice Pro not seeing the plug-in in the DAW. The software installs AU, VST3 and AAX 64-bit versions, but some older sessions save plug-in paths that point to a previous format. If the plug-in does not appear after installation, check that your DAW is scanning the right folder. On a Mac running macOS 10.14 or later, the AU version goes to /Library/Audio/Plug-Ins/Components and VST3 to /Library/Audio/Plug-Ins/VST3. If the DAW still does not see it, a rescan of plug-ins usually does the trick.

Another snag: the processed audio sounds fine inside Revoice Pro but comes out distorted in the DAW. This usually means the output gain in the plug-in window is set too high. Revoice Pro does its own levelling, but if you push the output past 0 dB, the DAW will clip. Dial it back to -3 dB or so and let your mix bus handle the rest.

Latency can catch people out too. Revoice Pro processes in real time by default, so if your buffer size is small, you might hear pops or dropouts. Bumping the buffer to 512 or 1024 samples during alignment work stops the glitches. Switch it back to a low buffer for recording.

Revoice Pro works with any DAW that supports AU, VST3 or AAX 64-bit

One question that comes up a lot: "Does Revoice Pro work with any DAW?" The answer is yes, as long as your DAW supports AU, VST3 or AAX 64-bit plug-ins. Logic Pro, Pro Tools, Ableton Live, Cubase, Studio One — they all work. The plug-in loads on a track, you send audio to it, and the processed signal comes back. There is no standalone version, so you need a host.

Another common one: "Can I use it on instruments other than vocals?" Revoice Pro is built for voice and monophonic instruments. A solo violin line, a trumpet phrase, a bass guitar run — those work fine. A full piano chord or a drum loop will confuse the pitch detection because it expects one note at a time. Stick to single-note sources and you are good.

People also ask whether they need an internet connection to run it. The answer is no. Once it is installed, the software works entirely offline. There is no cloud processing, no licence check on launch. You can take it on a plane or to a remote studio and it will behave the same way.

Music producers who comp vocal takes will save the most time

Music producers who track vocals regularly are the obvious fit. If you record a singer and end up comping five takes into one performance, Revoice Pro saves you the manual nudging and tuning that can eat an hour per song. The SmartAlign tool is especially useful when the singer's timing drifts across takes — it locks the comp together without sounding edited.

Post-production editors working on dialogue or voiceover also benefit. ADR replacement lines rarely match the original performance's timing and pitch. Running the new line through SmartAlign and SmartPitch blends it into the surrounding dialogue so the edit is invisible. The same applies to podcast editors who record interviews in less-than-ideal conditions and need to tighten up the host's doubles.

Sound designers who layer vocal textures will find the vocal doubler useful. It creates layered-sounding doubles from a single take, which saves having to record multiple passes. Combined with Shaper Tool for pitch variation, you can build a choir effect from one voice without the artificial sheen that some plugins add.

And if you are running an Intel Mac, there is no worry. Revoice Pro supports both ARM and x86 64-bit, so it runs natively on Apple Silicon and under Rosetta on older machines. The same installer covers both architectures, which is one less thing to keep track of.

New this release

• Shaper Tool for pitch adjustment
• SmartPitch for matching the pitch of doubles and harmonies
• SmartAlign for synchronising tracks with different start or end positions

Mac it needs

• macOS 10.14 or newer
• AU, VST3 or AAX 64-bit host
• Intel or Apple Silicon
• Interface language: English