Recording - May 2013 - 47

tweaking multiple effects at once; and still
others are combined into program-specific
modules that change with your selection...
and every parameter, even the ones
“under the hood” that you can’t adjust
directly, is preset to be appropriate to your
needs when you call up the right program.
What effects you get and how they sound
are selected by an intuitive browser system
based on Genre, Style, and Presets. Nectar
Elements comes with a set of 12 Genres:
Alternative & Indie, Classical, Country,
Dance & Electronic, Folk, Hip Hop & Rap,
Jazz, Pop, Rock, Soul & RnB, Special FX,
and Voice Over & Dialog. (A very important
thirteenth Genre, Utility, is added when you
drop in a free Style Pack... see below.)
Each Genre contains a number of Styles;
for example, the Pop Genre includes “Boy
Band”, “Pop Princess”, and “Punchy
Doubler” among its menu of Styles. To get
started in Nectar Elements, you choose a
Genre and Style, and up comes an effect
chain, ready for audio.

A Style is a sort of a template to get you
started; once you’ve tweaked and set all
the parameters in a given Style in a particular way, you can then give it its own
name and save it as a Preset. The Presets
come up in a separate browser window.
There’s also a History window that
reflects every tweak you make; you can
mark four points in the History for instant
recall, and Undo and Redo wherever you
wish just by clicking up and down the list.
Handling the tools
Aside from the large Input and Output
controls and level meters on the right (which
can display in Peak, RMS, or both, with
Clipping indicators and adjustable Peak
Hold), there are three rows of controls in
Nectar Elements. Master these, and you’re
good to go with the whole plug-in.
The top row has three modules: Levels,
Space, and a third module iZotope calls
the “Creative” module. The Levels module
has sliders for Preamp, Loudness, and a
display of Input vs. Output gain; these sliders combine the compressor, limiter, saturation, and some eq for quick and intuitive
control of gain and dynamics. Engineers
who are used to much finer control of their
dynamics processors may find a two-slider interface a bit frustrating, but in practice it’s pretty easy to dial in the dynamic
response you want in a hurry.
RECORDING May 2013

47


http://www.isoacoustics.com http://www.isoacoustics.com http://www.stedmanusa.com

Recording - May 2013

Table of Contents for the Digital Edition of Recording - May 2013

Recording - May 2013
Fade In
Contents
Talkback
Fast Forward
Jim Anderson Records Patricia Barber
Lewitt Authentica LCT 940
PreSonus Eris Series High-Definition Studio Monitors
How To Record Great Vocals At Home
Audio-Technica AT5040 Studio Vocal Microphone
Plug-ins To The Rescue—Real-Life Remedies For Vocal Tracks
Moon Professional 3500MP 2-Channel Microphone Preamp
DPA Microphones d:fine Series Headset Microphones
Plug-in Outlet: Toontrack EZmix Pack: Vocal Toolbox
Plug-in Outlet: iZotope Nectar Elements
Blue Spark Digital USB Microphone
Plug-in Outlet: Noveltech Vocal Enhancer (and Character)
Readers' Tapes
Recording Fundamentals. Chapter 17: Sweet Spot Conundrums—Part 4
CAD Audio Acousti-shield 32
Advertiser Index
Fade Out
Recording - May 2013 - Intro
Recording - May 2013 - Recording - May 2013
Recording - May 2013 - Cover2
Recording - May 2013 - 1
Recording - May 2013 - 2
Recording - May 2013 - 3
Recording - May 2013 - Fade In
Recording - May 2013 - 5
Recording - May 2013 - Contents
Recording - May 2013 - 7
Recording - May 2013 - Talkback
Recording - May 2013 - 9
Recording - May 2013 - Fast Forward
Recording - May 2013 - 11
Recording - May 2013 - 12
Recording - May 2013 - 13
Recording - May 2013 - Jim Anderson Records Patricia Barber
Recording - May 2013 - 15
Recording - May 2013 - 16
Recording - May 2013 - 17
Recording - May 2013 - Lewitt Authentica LCT 940
Recording - May 2013 - 19
Recording - May 2013 - PreSonus Eris Series High-Definition Studio Monitors
Recording - May 2013 - 21
Recording - May 2013 - 22
Recording - May 2013 - 23
Recording - May 2013 - How To Record Great Vocals At Home
Recording - May 2013 - 25
Recording - May 2013 - 26
Recording - May 2013 - 27
Recording - May 2013 - 28
Recording - May 2013 - 29
Recording - May 2013 - 30
Recording - May 2013 - 31
Recording - May 2013 - 32
Recording - May 2013 - 33
Recording - May 2013 - Audio-Technica AT5040 Studio Vocal Microphone
Recording - May 2013 - 35
Recording - May 2013 - 36
Recording - May 2013 - 37
Recording - May 2013 - Plug-ins To The Rescue—Real-Life Remedies For Vocal Tracks
Recording - May 2013 - 39
Recording - May 2013 - Moon Professional 3500MP 2-Channel Microphone Preamp
Recording - May 2013 - 41
Recording - May 2013 - DPA Microphones d:fine Series Headset Microphones
Recording - May 2013 - 43
Recording - May 2013 - Plug-in Outlet: Toontrack EZmix Pack: Vocal Toolbox
Recording - May 2013 - 45
Recording - May 2013 - Plug-in Outlet: iZotope Nectar Elements
Recording - May 2013 - 47
Recording - May 2013 - 48
Recording - May 2013 - 49
Recording - May 2013 - Blue Spark Digital USB Microphone
Recording - May 2013 - 51
Recording - May 2013 - Plug-in Outlet: Noveltech Vocal Enhancer (and Character)
Recording - May 2013 - 53
Recording - May 2013 - Readers' Tapes
Recording - May 2013 - 55
Recording - May 2013 - 56
Recording - May 2013 - 57
Recording - May 2013 - 58
Recording - May 2013 - 59
Recording - May 2013 - Recording Fundamentals. Chapter 17: Sweet Spot Conundrums—Part 4
Recording - May 2013 - 61
Recording - May 2013 - 62
Recording - May 2013 - 63
Recording - May 2013 - CAD Audio Acousti-shield 32
Recording - May 2013 - Advertiser Index
Recording - May 2013 - 66
Recording - May 2013 - 67
Recording - May 2013 - 68
Recording - May 2013 - 69
Recording - May 2013 - 70
Recording - May 2013 - 71
Recording - May 2013 - Fade Out
Recording - May 2013 - Cover3
Recording - May 2013 - Cover4
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