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Message: [QUOTE="Bombastus, post: 91716, member: 2178"] Topline Vocal Tune can repitch incoming vocal audio to held MIDI notes, with optional latching and pitch-wheel control up to 12 semitones. MIDI Repitch is not the same thing as Define Scale. Repitch forces the vocal toward the note you play, while Define Scale changes which notes the tuner can choose during normal correction. The signal path matters more than the knob settings at first. Topline needs vocal audio and a MIDI source to reach the same plugin instance, and each DAW handles that meeting point differently. Get the routing wrong, and you can hear an untouched vocal, trigger nothing, or monitor the dry and repitched signals together. Start with a recorded vocal before trying it live. A fixed file removes mic monitoring and input routing from the equation, so you can confirm MIDI notes actually control the voice. Once that works, moving the idea into a tracking session is easier. [HEADING=2]Logic needs a MIDI-controlled effect path[/HEADING] Logic Pro treats this setup differently from a normal audio insert. Create an audio track for the vocal and a software instrument track, then load Topline Vocal Tune from Logic's AU MIDI-controlled effects menu on the instrument track. Feed the vocal into Topline through the plugin's Side Chain menu. Set the source vocal track to No Output. Leaving its normal output active means you hear the original vocal alongside the repitched return, which can sound weak, doubled, or strangely phasey. Select the software instrument track when you want a keyboard to control Topline live. Recorded MIDI works the same way once the routing exists. Put notes on the instrument track and let them drive the vocal during playback. You can draw a harmony line, rewrite a hook, or force a nearly monotone performance through a new melody. Ableton Live and Pro Tools use a more direct arrangement. Topline stays on the audio track, while a separate MIDI track sends its output to the plugin instance. FL Studio needs its MIDI Out generator and matching ports, so Logic's method does not transfer cleanly. [HEADING=2]Repitch, latch, and octaves change the performance[/HEADING] A held MIDI note controls the repitched vocal only while the note remains active unless Latch is enabled. Latch keeps the last MIDI note in place until you trigger another note or press the same note again to release it. For sparse melodic changes, it saves you from holding keys through entire phrases. Octaves changes how aggressively the voice travels. With Octaves enabled, Topline can use the nearest octave of the incoming MIDI note, often reducing the distance the vocal must be shifted. Turn it off when you want the voice dragged toward the specific octave you played and do not mind a more processed result. Topline's repitching is monophonic. If several MIDI notes arrive, it does not turn one vocal into a chord stack. The most recently played note wins, and if several notes start together, the higher note is used, so proper harmonies still need separate passes or processed voices. Speed also becomes a performance control here. Slower values move to MIDI targets glide rather than snap, which can turn a stiff programmed line into something closer to portamento. Faster values work when every note change needs an obvious hard edge. [HEADING=2]Pitch bend works better when its range is deliberate[/HEADING] Pitch Wheel Depth sets how far the incoming MIDI pitch wheel can bend the repitched voice, up to 12 semitones. Small ranges are easier for scoops and little ornaments because your hand has more physical travel for a smaller musical change. A wide range suits abrupt effects, but tiny wheel movements become much more dramatic. Large shifts deserve a different latency decision from live tracking. Topline's Low Latency mode is intended for the fastest response while recording, but its documentation recommends disabling it when mixing prerecorded vocals for more precise large corrections or MIDI-driven shifts. The DAW can compensate for the extra plugin latency during playback. Research on [B][URL='https://doi.org/10.3390/app6110368']natural singing-voice pitch shifting[/URL][/B] also shows why extreme moves can expose processing more readily than modest ones. Spectral-envelope treatment becomes important when pitch moves far from the original voice, so a technically correct MIDI note is not automatically a convincing vocal result. For live work, keep Low Latency engaged and simplify the route before adding extra processing. The newer [B][URL='https://goldmidi.com/community/threads/uad-topline-vocal-tune-gains-apollo-dsp-pitch-shifting.77078/']real-time Apollo pitch correction[/URL][/B] setup is useful once MIDI control behaves predictably. Troubleshoot audio input, MIDI destination, active note state, and duplicate dry monitoring before blaming the tuning itself. One final trap sits inside Define Scale. It listens to incoming MIDI too, but its job is to change the permitted correction notes rather than continuously force the vocal to each played pitch. Switch back to MIDI Repitch when you want the keyboard to perform the melody instead of defining its boundaries. [/QUOTE]

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