Izotope’s Nectar and Nectar Elements vocal plug-ins are designed to be a one-stop-shop for all your vocal processing needs. That’s a pretty tall order, but regardless Izotope insist you don’t need anything else. 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. Still, since they insist, I’ll give it a whirl.

DIGGING DEEPER

Open up the box of Nectar tricks and no surprise it’s far from a single insert effect. 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. Its inclusion alone could make Nectar appealing for some.

Most of Nectar’s internal plug-ins have detailed variations built in, such as a choice of an analogue, tape or digital delay effect. The compressor can operate as a digital, vintage, optical or solid-state device… options abound everywhere.

So despite being that single inserted effect, now you’ve got quite a complex plug-in that almost defies knowing where to begin. Don’t panic, Izotope has that problem covered.

NECTAR – ANY FLAVOUR YOU LIKE?

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. A few examples will explain this best, like “Jazz – Slow and Smokey”, “Hip Hop and Rap – Indie Rap” and “Folk – Greenwich Dry”. 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. 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. Other controllers remain constantly in the GUI, except what they do can change. 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.

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. 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. 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.

UNDER THE HOOD

The Advanced window takes you to heart of the plug-in modules and the more traditional parameters for each. 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. 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.

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. 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. And maybe I didn’t look hard enough, but I couldn’t find a Tap button for the delay.

The Pitch Correction module is similar to the Auto-tune or V-Vocal (Sonar) GUI, rather than Melodyne’s “blob” approach. Nectar’s pitch correction on-the-fly is impressive, particularly if you make the effort to set the proper scale (a Chromatic setting seemed to struggle with minor scales). There is the option to capture a wave file inside the module’s pop-out editor, then select errant notes and manually correct them. A Split tool lets you narrow things down. Otherwise the tool box is quite bare – you can’t straighten out excessive vibrato, for instance or draw in your desired pitch. The only choice is pitch-shifting existing data. Maybe Izotope is trying to re-enforce the message that if you find yourself trying to fix every tortured syllable of a performance, then the answer is to send the singer back to the vocal booth? So sue ‘em – Nectar isn’t designed for people who can’t sing? Good call.

I’m going to admit that I’m not a fan of Nectar’s rather utilitarian GUI, which is typical of Izotope. Call me easily entertained by flashing lights and things, but beyond the front panel I find the bland plug-in interfaces within the Advanced section a little uninspiring. Again, maybe it’s in the interests of keeping system resources focused on the important stuff – talking of which, Nectar isn’t too demanding until you kick in the Doubler plug-in, which can be CPU-hungry. A choice of Tracking or Mixing modes internally reconfigures latency and CPU usage to allow for vocalists who like some effects in their headphones. By the way, you get a frequency analyser running inside the EQ window, a handy bonus.

BACK TO BASICS

Take away the Tracking/Mixing mode and the Advanced window – and you’ve got Nectar Elements. While you’re still getting all 11 modules to use, Elements restricts you to choosing them by using the genre and style menu, and you lose a huge amount of flexibility and the ability to dive deep into the separate plug-in module settings. It’s a bit of a mystery with some genres exactly what modules are being used and what parameters the GUI sliders are accessing. You’ve still got Pitch Correction, but only in real-time with no manual editing. You could say Nectar Elements is aimed at people who want quick results without necessarily caring or knowing how they’re being achieved. It certainly delivers that.

The full version of Nectar delivers even more. In many ways Elements rivals some plug-in suites that can cost five times as much. You have to get your head around the unfamiliar workflow of doing everything inside one plug-in, then ignore having just the one Insert slotted filled over your vocal channel, which just looks plain weird. The verdict is, Izotope is right in saying you don’t need anything else. If Nectar doesn’t do the vocal trickery for you, something is seriously wrong.

We know who to blame for that, but make sure you turn off the Talkback microphone before you say it out loud.

PRICE AND AVAILABILITY: You can try Nectar for yourself first at www.izotope.com and download prices are US$129 (Elements) and US$299 (Full version).

It’s almost compulsory for rental companies to own at least one battered, scratched Allen & Heath MixWizard. It’s the go-to mixer for clients who are most likely to drop it, pour coffee in the faders or let the road case fall out of the truck. A&H has released a fourth generation of the MixWizard without tinkering too much with a proven design. The new WZ4 16:2, WZ4 12:2 and WZ4 14:4:2 MixWizards feature enhanced styling and improved performance and functionality, including EQ in/out switching and new dual digital FX engines on the 16:2 and 12:2 models, along with an optional USB multi-track recording and playback interface card. All models have kept the existing microphone pre-amps and 4-band EQ with 2 sweepable mids, 100mm faders, 6 auxiliary sends, 12 segment bar graph metering, and A&H’s QCC connector system for desktop, rack or flight case mounting. Pricing will remain the same as the WZ3 models, and stock should be available from July 2013. You can find the full details of I/O configurations and the like at www.allen-heath.com

AUSTRALIAN DISTRIBUTOR: Technical Audio Group www.tag.com.au

Allen & Heath has introduced the GLD-112, a larger version of the GLD-80 mixer providing an extra bank with a further 8 control strips. This increases the channel count to 28 fader strips in 4 layers each with a motorised fader, a channel LCD display which can be named and colour-coded, plus a rotary control for direct access to gain, pan and aux/FX sends. The GLD-112 keeps the same analogue-style channel processing control section complemented by a graphical 214mm touch screen. Four additional soft keys are included next to the faders for scene-controls and other user-defined functions. The mixer’s local I/O is 4 XLR mic/line inputs, 4 XLR line outs, 4 RCA inputs, 2 RCA outputs, and digital outputs in SPDIF and AES3 formats or, of course, the GLD-112 connects to a range of A&H I/O racks. Standard iLive audio I/O option cards for Dante, MADI, Waves and Allen & Heath’s ACE protocols can be fitted, too. The larger GLD is scene-compatible with the existing GLD-80 mixer, using the same audio core. A GLD firmware update V1.2 has been released which along with various tweaks includes four new plug-in effects. More info and the firmware download is at www.allen-heath.com

AUSTRALIAN DISTRIBUTOR: Technical Audio Group www.tag.com.au

Ross was refreshingly honest about the verdict as to whether there much of a difference and if it was all worthwhile, saying, “the differences aren’t immediately dramatically apparent, but there is a beautiful and effortless openness to the top end in DXD and this effect has a ripple-down effect through the whole frequency range.”

We’ll guess that means Ross thinks it was worth it, and since Ross has been pursuing recording excellence for 30 years, we’re certainly not going to argue.

If you’re wondering why the news desk seems to have suddenly gotten busy, it’s because the Infocomm 2013 exhibition has opened its doors in Orlando, Florida and press releases are flying off the shelves in all directions like that crazy library scene in Ghostbusters. Of note from AKG is its new C111LP earhook microphone, suitable for on-stage performers and corporate speakers. AKG claim the C111LP is nearly indestructible, constructed out of stainless steel to ensure ruggedness and reliability. Still, the strong frame is pliable, able to adjust and fit the head of any performer. The small skin-coloured boom visually disappears against the face (AKG makes no mention if different colours are available), while its 7g weight provides a comfortable fit. The C111LP connects to all AKG pocket transmitters via 3-pin mini XLR for easy integration into any rig. Its frequency response ranges from 60-15.000hz, with an omni-directional polar pattern. C111LP includes a windscreen, cable clip and carrying pouch within its packaging. You can try www.akg.com for more information, but right now C111LP doesn’t get a mention.

AUSTRALIAN DISTRIBUTOR: Audio Products Group www.audioproducts.com.au

More from Soundcraft, which has announced a new option card in the ViSi Connect series of expansions for the Si Expression, Si Compact and Si Performer consoles, providing users with a multi-channel, multi-format interface for live and studio recording to DAWs and other recording systems. Called the Multi Digital card, it provides 32 output channels (fed from the console channel direct outputs or other feeds) and 32 input channels for playback/monitoring from the recording system. The card has connections for USB and FireWire, plus another eight channels of ADAT interface on TOSLINK optical connectors. A second FireWire port allows the connection of an external hard disk, rather than using the computer’s internal hard drive. The card also allows expansion of inputs and outputs to the console as any of the ports can be used to connect external equipment such as multichannel mic preamps or audio interfaces which have USB, FireWire or ADAT connections. Soundcraft has developed an application note and set of simple guides which can be viewed on the Soundcraft website at www.soundcraft.com.

AUSTRALIAN DISTRIBUTOR: Jands info@jands.com.au.

Studer is trying to put you out of a job with its Studer VistaMix . Studer VistaMix is a software upgrade for Studer’s range of Vista digital mixing consoles that offers to mimic the action of a human operator – a solution to the myriad of audio problems apparently encountered in houses of worship. VistaMix automatic microphone mixing removes the need for an operator to manually adjust all the faders all the time, leaving the microphones of talking participants open, while closing the microphones of silent participants in order to reduce spill and background noise. The secret is in increasing gain for ‘talking’ microphones and reducing gain for all others, but doing it all very quickly and keeping the amount of total gain constant, so a clean live mix can be created. Fiendishly clever, although we’ve met several human operators who’d claim to be able to do this. The new feature is available to all existing Vista systems with SCore Live DSP engines and the Vista 1. No additional hardware is required to the Vista surface, the new controls are fully implemented within the standard Vistonics screens and controls.

QSC Audio Products, LLC has announced a “revolutionary” power amplification technology platform with the introduction of two new amplifier families, the CXD Series for Installed Sound Applications and the PLD Series for Portable / Live Sound Reinforcement Applications. QSC claim the amplifiers “change the fundamental amp paradigm with a unique channel combining methodology for much greater flexibility”. Hmm… we’ll make that easier for you – QSC’s Flexible Amplifier Summing Technology (FAST), provides better power allocation by actively distributing the total amplifier power across one, two, three or all four outputs enabling amp channels to be combined for maximum current or voltage output with the largest models capable of up to 5,000 watts. Housed in a 2U rack-mount configuration, CXD and PLD Series amplifiers feature new QSC proprietary class-D power devices, which enable that multi-channel, high performance power. QSC agree there’s been a misconception the company was moving away from power amplifier products and focusing its attention on loudspeakers and DSP. The new CXD and PLD amplifiers should well and truly dispel that rumour. CXD and PLD Series Amplifiers will be available in July 2013. Full details are at QSC’s new website www.qsc.com

AUSTRALIAN DISTRIBUTOR: Technical Audio Group www.tag.com.au

Radial Engineering has been pumping out 500 Series hardware lately. The new PreMax channel strip is a combination preamp and 3-band equaliser module. The PreMax begins with a low-noise Op-Amp input coupled with Radial’s Accustate gain control that simultaneously sets the input sensitivity and signal gain to deliver ultra-quiet performance at all levels. Visual monitoring is supported with LEDS for signal and overload. The preamp then feeds a traditional 3 band shelving EQ for tone shaping. A front panel switch enables the user to bypass the EQ to compare the pre-post effect.  This is augmented with a high-pass filter to eliminate low-end resonance. A 180°polarity reverse works double duty to either help align stereo mic placement or to help tame acoustic hot spots when using the PreMax in a live stage setting.  For safety, the 48V phantom power switch is recessed to prevent accidental turn-on. When used with a Radial Workhorse power rack, the Omniport jack is configured as an instrument input and activated using the front panel switch. When not connected, the switch acts like a microphone mute. The PreMax starts shipping June 17th, 2013.

AUSTRALIAN DISTRIBUTOR: Amber Technology www.ambertech.com.au

Waves have once again plundered the dusty cupboards at Abbey Road for some classic audio inspiration. Recognised as a passive equaliser with powerful sound-shaping capabilities, the RS56 Universal Tone Control was originally introduced in the early 1950s and used in Abbey Road Studios to prepare recordings for the record-lathe, as part of the process we now know as mastering. Later, Abbey Road’s pop engineers began using the RS56 for studio recordings because of its abilities to dramatically manipulate sound – unlike the basic treble and bass EQs found on the mixing consoles of the time. This earned it the nickname “The Curve Bender.” Waves and Abbey Road Studios have faithfully recreated the RS56 using advanced circuit modeling techniques based on the original schematics. Like its hardware predecessor, the Waves: Abbey Road RS56 passive EQ plug-in features three bands with four selectable centre frequencies for each and six different filter types, plus independent or linked control over the left and right channels. The promised result is an equaliser that is as effective today as it was when it was created over half a century ago. Introductory prices of $99 for Native and $149 for the SoundGrid versions are available (normally $200 and $300 respectively). The RS56 is not currently available in any Waves bundles. Go to www.waves.com for more info.