In a few other areas Izotope has kept things simpler, probably to reduce the potential CPU load, such as only providing reverb in a small, medium and large plate type. This is an Izotope plug-in and it goes without saying – but I’ll say it anyway – that the quality of each plug-in is high and those aforementioned options within each can significantly widen your choices.
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Aside from giving you full control of the individual plug-ins, the Advanced mode allows you to re-order the signal chain apart from the Breath Control and Pitch modules, which are always first and second. Remember, the genres are only suggested presets and you can make as many adjustments as you like and save the results as true Presets under a different dialogue box. The Advanced window takes you to heart of the plug-in modules and the more traditional parameters for each. Until then, as you explore Nectar you’ll find yourself frequently switching in and out of the Advanced view trying to pin down what’s changing what.
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After a while you learn to read between the lines – or the labels – better and a bit of swotting-up with the User Manual will no doubt explain more clearly how these controls are assigned. Think of these main GUI sliders as kind of grouped controls linked to the appropriate plug-ins, depending on the genre, that give you global tweaks. The Space controller usually ties in with the reverb or delay plug-ins – and sometimes both – and the Level controls are associated with compressor and limiter settings… or not. Other controllers remain constantly in the GUI, except what they do can change. One of these sliders changes a lot, for instance with the Rock – Demon’s Realm preset it offers an “Evil” control containing Heat and Ghoul settings which are, in fact, parameters of the underlying Doubler plug-in. Most make sense, while some are a bit… say what? The different genres, of course, determine which effects are in use and the individual settings, but they also affect the assignment and appearance of the generic slider controls in the GUI’s main display. A few examples will explain this best, like “Jazz – Slow and Smokey”, “Hip Hop and Rap – Indie Rap” and “Folk – Greenwich Dry”. Nectar is based around a collection of genres and sub-menu styles – okay, it’s a fancy name for factory presets – that get you started with a desired overall vocal effect. Don’t panic, Izotope has that problem covered. So despite being that single inserted effect, now you’ve got quite a complex plug-in that almost defies knowing where to begin. The compressor can operate as a digital, vintage, optical or solid-state device… options abound everywhere. Most of Nectar’s internal plug-ins have detailed variations built in, such as a choice of an analogue, tape or digital delay effect. Its inclusion alone could make Nectar appealing for some. Inside you get 11 different modules to play with, most of them being the usual suspects such as compression, delay, EQ and the rest – anything you might possibly want to apply to a vocal recording is available in Nectar including a real-time Pitch Correction feature. Open up the box of Nectar tricks and no surprise it’s far from a single insert effect. Still, since they insist, I’ll give it a whirl. Hmm… most of us have favourite plug-ins, effects chains and – dare I say it – even presets that we automatically dial in for any vocal tracks as a starting point, so straight away it feels a bit odd to ignore these and see just a single plug-in sitting in the Insert rack. That’s a pretty tall order, but regardless Izotope insist you don’t need anything else. Izotope’s Nectar and Nectar Elements vocal plug-ins are designed to be a one-stop-shop for all your vocal processing needs.