Orra Vocal
Pitch Editor & Vocal Chain
Intro price through November 17, then $49
Secure checkout by Lemon Squeezy
Orra Vocal
Pitch Editor & Vocal Chain
Pitch correction and a vocal chain in one plugin. TUNE puts the vocal on a piano roll to correct, retime and reshape any note by hand. Behind it, eight effects built for the voice, already set for the vocal they heard.
Intro price through November 17, then $49
Secure checkout by Lemon Squeezy
See it work
Tuning a lead from the raw take to a vocal that sits in the mix.
Orra Vocal: Pitch Correction Plugin + 8-Effect Vocal Chain
CORRECT on the whole take, then the notes that need a hand. CLEAN, EQ, SAT and COMP for the tone and the level, DOUBLE, DELAY and REVERB for the space, and RIDE to even out the lines.
More videos & articlesThe whole vocal, on a roll
Orra Vocal analyzes your vocal and lays every note out on a piano roll. Hit CORRECT to pull them into the key, or grab one note and move it yourself.
Each note sits at its pitch and its time, with the sung pitch drawn through it
Eight tools, one note at a time
PITCH moves a note, TIME shifts or stretches it, SPLIT cuts it in two. VIBRATO calms or deepens the wobble, DRIFT straightens a note that sags, LEVEL lifts a word that got lost, FORMANT changes the character of the voice without touching the pitch, and GLIDE shapes the bend between two notes.
It still sounds like the singer
Notes you leave alone play exactly as recorded. The consonants, breaths and silences between the ones you tune play as recorded too, so there is no swish between words and a hard t or k stays crisp. Even a move of an octave keeps the voice instead of turning metallic.
The inspector
Select a note and the bottom of the page shows what it is doing: the note it will sound as, how far off it sits in cents, vibrato, drift, level, formant, timing, length and glide. Drag a value or type one.
Correct, quantize, merge
CORRECT tunes everything at once, and its settings decide how far: how much of the pitch is pulled to the key, how much slow drift comes out, how much vibrato goes. QUANTIZE moves the starts onto the song grid with a strength that keeps some of the feel. MERGE joins a word back together.
Snap to the key, or not at all
SNAP decides where a dragged note lands: freely cent by cent, on semitones, or on the notes of the key. KEY can follow what Orra Vocal hears in the vocal, stay chromatic so a note is never pulled further than half a semitone, or be set to the song.
See the other tracks
With Orra Vocal on several vocal tracks, each one can show the others behind its own notes, each in its own color, with one marked as the lead. Line a double up against the lead, or check where a harmony sits against the melody.
Works in your DAW
ARA
In a DAW with ARA 2, such as REAPER, Logic Pro, Studio One or Cubase, Orra Vocal reads the clips on its track directly. Insert it and it analyzes the vocal, then plays it back corrected.
The tuning is saved with the project, and a click on the ruler moves the playhead. ARA 2 is in the VST3 and AU versions.
TRANSFER
In any other DAW, including Pro Tools, arm TRANSFER and play the song over the vocal. It records what reaches it and analyzes that as a take. The corrected playback then plays wherever the take covers the song.
Takes are kept as files in your Music folder, so a project carries its edits with it.
Eight effects, made for the voice
The corrected vocal runs through them in order. Each has its own page with displays and meters that move with the take, and each starts switched off.
CLEAN
Turns down sibilants, breaths and the room between phrases. On an analyzed vocal it already knows where each one is, so it never dulls a bright sung note and adds no delay.
EQ
Eight parametric bands with a live analyzer behind them. Any band can run as an upward or downward dynamic EQ, with its own threshold, ratio, attack and release, and any band can be set to mid or side only. DRIVE adds console saturation across the whole EQ.
SAT
Five saturation bands, each pushing one region of the voice into a saturator and lifting it as it saturates. Tube, tape, console or edge, with oversampling so the high bands stay clean.
COMP
Evens out the level so quiet words and loud words sit together. No lookahead and no added latency, with a curve display and parallel MIX for density without flattening the take.
DOUBLE
Up to four copies of the vocal, each a little late and a little out of tune, spread across the stereo field. The copies are only ever late, as a real double is, so nothing is delayed.
DELAY
Echoes locked to the song tempo, from a 1/32 slapback to a dotted ping-pong. They darken as they repeat and step back while the vocal sings, so they bloom in the gaps.
REVERB
The five spaces from Orra Space, room, chamber, plate, hall and spring, in vintage or modern, with their tone controls and a ducker that lets the tail fill the gaps between phrases.
OUTPUT
The level from end to end: a staged input, a late de-esser, RIDE to even out the lines, a soft ceiling, and metering with LUFS, true peak and a vectorscope.
It sets itself up
The first time Orra Vocal hears a vocal it measures it: how loud and how even the singing is, how busy it is, the range, where the sibilants start, how loud the breaths are, the tone. Then it sets every effect for that voice, using the song tempo for DELAY and REVERB, and leaves them all switched off.
Ways to judge by ear
Every effect page carries A | B to compare two settings, DELTA to hear only what the effect changes, and MATCH to hear it off at the same loudness, so you can tell whether it sounds better or only louder. Presets for each effect, and chain presets for the whole lot at once.
Nothing is delayed
The effects add no latency. COMP has no lookahead, DOUBLE only ever puts its copies late as a real double would, and the analysis runs on its own background thread. The vocal track stays where it is, so nothing in the session has to shift.
How it works
No added latency, the vocal passes through untouched until you tune it or switch an effect on
Tune It
Every note on a piano roll, analyzed in the background at about nine seconds per minute of vocal. CORRECT tunes the lot, with control over pitch, drift and vibrato.
Eight tools: PITCH, TIME, SPLIT, VIBRATO, DRIFT, LEVEL, FORMANT and GLIDE. Snap freely, to semitones or to the key, with the key followed, chromatic or set to the song.
An inspector for the selected note: its name, how far off it sits in cents, vibrato, drift, level, formant, timing, length and glide. TUNE keeps its own undo history, separate from the DAW.
Corrected, and still the same singer
Shape It
CLEAN turns down sibilants, breaths and the room between phrases, with no threshold to set. EQ gives eight bands that can go dynamic or work on mid or side alone, plus DRIVE across the whole EQ.
SAT lifts five regions of the voice through tube, tape, console or edge saturation. COMP evens the level with a parallel MIX and no lookahead.
DOUBLE stacks up to four late, detuned copies across the field. DELAY locks echoes to the tempo and ducks them under the words. REVERB brings the five rooms of Orra Space.
Eight effects, one voice
Finish It
OUTPUT stages the level into the chain, then rides it toward a target word by word. It moves only while the vocal sings, so breaths and reverb tails are never pushed up.
A second de-esser at the end catches the sibilance that compression and saturation bring back up. A soft ceiling under 0 dB catches peaks that would clip.
Metering to match: LUFS to BS.1770-4, true peak in dBTP, a vectorscope, correlation and the side-to-middle balance. COMPARE plays the untouched vocal at the same loudness.
Ready for the mix
Get Orra Vocal
Tune the take by hand, then finish it with eight effects built for the voice. Install it and start the free 14-day demo from inside the plugin, with every feature unlocked.
Intro price through November 17, then $49