![]() ![]() The Doubler module had a fader for the amount of an added low-octave voice and a Spread control for the other unison voices panned left and right. There was a delay effect called Space with just wet/dry, size and color faders. The Cruzing (Male) Style produces an aggressive, hot level using the Compressor, Limiter and Saturation modules, but there are only preamp and loudness parameters to set. Edits are remembered and tied to your particular audio position, and, yes, you can put correction speed to 0 ms and make vocal tracks sound like vocals on Pop radio these days. I clicked on the Manual Editor because, in addition to running automatically and reining in wayward pitch, this module let me “scan” problem areas for manual correction, much like Melodyne 3.2.2 or AutoTune 7. Nectar’s Main view showed the Pitch Correction module in chromatic mode with just the correction speed, scale and root note values to adjust. Because Nectar does not have a mono-to-stereo instance yet, I duplicated my lead vocal track and sent each copy to the left and right side of a stereo aux fader and inserted a stereo instance of Nectar. The unambiguous and “no-brainer” input control section lets you set level within an acceptable, “bracketed” range.įor a wide lead vocal sound in a boy band mix, I called up the Pop genre and the Cruzing (Male) Style. The recorded level of vocal tracks makes the biggest difference in the way the compressor, limiter, gate and saturation processors work. One of the most important initial tweaks is input level. I did find that while in Advanced view if you want to select another Genre/Style, the list drops down so you can’t see the module lineup change as you try different Styles. But in spite of the power and technical depth, it doesn’t take a scientist to use it. I tested Nectar in Pro Tools 9 HD3 Accel running on a Mac Westmere 8-core (OS 10.6.6), and at first glance Nectar appeared daunting. Advanced view offers a list of all 11 modules with separate screens for each. Once selected, a simplified set of controls for each module used in the preset appears so that you can quickly change default settings. The Preset/Style selector drops down for choosing a Genre and Style. When Nectar is first instantiated, a Quick Start main view gets you close to the sound you want quickly. While Styles from one Genre cannot be applied to another Genre, you can use the pop-up editor to create, rename and add your own concoction to your preset list. There are four to 12 different premade Styles per Genre included. Style designates the module chain order in which they are connected, the initial/default parameter settings and the way the modules interact. Nectar offers presets for more than 10 musical genres, plus effects, voice-over and dialog. For example, you won’t find Pitch Correction in the Jazz genre, but you would in the Pop genre. ![]() A Genre in Nectar comprises a certain collection of processor modules used for mixing songs within that musical form. Nectar’s presets are organized into musical Genres and Styles. In Tracking mode, Nectar downshifts the pitch correction, doubler and limiter modules to minimal versions, reduces overall latency and disables the high-latency Breath Control module. Mixing mode is full-powered but at a considerable DSP cost. Processors include pitch correction, breath control, gate, saturation, EQ, compressor, de-esser, doubler, limiter, reverb and delay.Īvailable as a native plug-in in AU, VST and RTAS formats running on PCs or Mac hosts, Nectar operates in either Mixing or Tracking modes. Nectar uses chains of up to 11 processor modules, and comes with a large library of preset combinations that emulate vocal treatments used in many popular musical genres. IZotope expands its line of multiprocessor tools with Nectar, a specifically designed plug-in for lead and backing vocal processing. Nectar’s 11 processors are organized in presets according to musical Genre and Style.
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