The software's pitch-correction tools could be of interest to those not looking to strip things apart. Should you wish to save your work, you can export projects as low bitrate MP3 or WAV, or share with other users via the proprietary RIP file format, which enables you to open files without the need for reanalysis. Workflow is hindered by the omission of some basics like pressing Space to play/stop, while a highlighted note on the piano roll that follows your cursor would improve workflow. You can open several songs and paste between them. Other options include adjusting timing of notes, panning them, setting levels, and copy/pasting of sections. More useful are the pitch correction, quantising and harmony tools that - if the track has been analysed well - allow fairly good control over pitch. We weren't expecting perfect separation by any means, but the results are usually so poor that they're of no practical use.Ī Change Style feature remaps the song's notes to a different scale, with vague options such as Edgy and Arabia. This is explained in the manual as being a result of the complexity of the task in hand, but that is the primary function of the software after all. Even dragging to select multiple parts usually results in nothing more than a recognisable but washy-sounding facsimile of the track. Unfortunately, the individual elements are separated in a way that often sounds like an audio artefact rather than a coherent musical part. Once decoded, the parts are coloured by type (Voice, Guitar, Sax, etc), which Hit'n'Mix guesses reasonably well, and each group has its own mixer fader, so you can mute or solo the parts, the usefulness of which is determined by the success of the initial analysis. When used with a simpler pop song - we tried Someone Like You by Adele - the software fared much better in identifying the discrete parts, presumably due to the instruments being fewer in number and less harmonically complex.
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