Nectar 4 Elements

Nectar 4 Help Documentation – Nectar 4 Help

Specifications

• Product Name: Nectar 4

• Functionality: Vocal mixing tool

• Features: Comprehensive set of features for mixing, producing,
  and designing vocals

• Compatibility: VST3, AUv2, AAX

• Included Plug-ins: 13 individual plug-ins

• Additional Feature: Melodyne 5 essential for pitch and time
  correction

Introduction

Achieve professional-quality vocals effortlessly with iZotope
Nectar 4. This comprehensive vocal mixing tool provides a complete
set of features for mixing, producing, and designing vocals.

Product Usage Instructions:

Vocal Assistant Page

The Vocal Assistant page is a simple and powerful tool for
making broad decisions about your vocals. It allows you to adjust
various aspects of your vocal sound.

Unmask

The Unmask feature puts your vocal at the forefront of your mix
by carving away other competing mix elements directly from Vocal
Assistant’s menu screen.

Voice Module

The Voices module in Nectar 4 allows you to build stacks of
complex harmonies in your vocal productions quickly and easily.

Auto-level Module

The Auto-level module is designed to get your musical vocals or
spoken word content instantly consistent in your production. It
includes features like Tame Noise, which helps reduce vocal noise,
and Sidechain Mode, which allows you to ride the level of an
instrumental to achieve a perfect mix.

Backer Module

The Backer module in Nectar 4 enables you to create artificial
background singers that sit under your main vocal. It provides
different flavors of vocalists and allows for creative manipulation
of ad-lib tracks. You can also import your own acapella to further
customize your sound.

Audiolens Compatibility

Nectar 4 is fully compatible with the popular Audiolens
application. Audiolens separates the vocal from your reference
track, providing Nectar with the best possible information to
create a starting point for you in the Assistant.

Custom Chains with Component Plugins

Nectar 4 Advanced comes with a suite of 13 individual plug-ins
that allow you to build your own custom chains for every vocal in
your production. These plugins can be integrated into your DAW
template for seamless workflow.

Celemony Melodyne 5 essential

In addition to Nectar 4’s built-in pitch correction, it also
includes Melodyne 5 essential, a Grammy-award winning pitch and
time correction tool. Melodyne adds surgical, intuitive, and
transparent pitch adjustment capabilities that are
industry-standard in professional studios.

Improved Modules and User Interface

Nectar 4 features improved and revamped modules, including the
Vocal Assistant page, to help you create custom presets using
machine learning technology. The user interface has also been
refreshed for a more intuitive experience.

FAQ

Q: What are the system requirements for Nectar 4?

A: Nectar 4 is compatible with VST3, AUv2, and AAX formats.
Please make sure your DAW supports these formats.

Q: Can I use my own acapella with the Backer module?

A: Yes, you can import your own acapella to further customize
your sound with the Backer module.

Q: Does Nectar 4 work with Audiolens?

A: Yes, Nectar 4 is fully compatible with Audiolens, allowing
you to separate the vocal from your reference track for better
vocal processing.

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Nectar 4 Help Documentation – Nectar 4 Help

Nectar 4 Help Introduction

Achieve professional-quality vocals effortlessly with iZotope Nectar 4. This comprehensive vocal mixing tool provides a complete set of features for mixing, producing, and designing vocals.
HELP IS HERE
Vocal Assistant gets you a nished vocal sound instantly. Now with the new Vocal Assistant page you can broadly adjust aspects of your vocal or dive deep into the module chain for endless tweaking.
1. Vocal Assistant Page: A simple and powerful page for making broad decisions about your vocals.
2. Unmask: Puts your vocal at the forefront of your mix by carving away other competing mix elements directly from Vocal Assistant’s menu screen.
IN SWEET HARMONY…
Nectar 4 now comes with the most simple and powerful Voices module, giving you a new way to build stacks of complex harmonies in your vocal productions fast.

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INSTANTLY CONSISTENT
The brand new Auto-level module is rebuilt from the ground up to get your musical vocals or spoken word content instantly consistent in your production. Tame the vocal noise that gets in the way of your nished musical vocal sound with the new Tame Noise feature or ride the level of an instrumental with Sidechain Mode enabled, getting your vocal to sit perfectly in the mix.
WHO’S BACKING YOU TODAY?
With iZotope’s singing voice conversion technology you can now create arti cial background singers that sit under your main vocal with the Backer Module. Finish up demos with different avors of vocalists, creatively destroy ad-lib tracks, or create something new altogether. Import your own acapella to further customize your sound.
REFERENCE ANY VOCAL
The popular Audiolens application is fully compatible with Nectar 4, giving you the ability to tone match the sound of any vocal. Audiolens magically separates the vocal from your reference track to provide Nectar the best possible information to create a starting point for you in the Assistant.
BUILD YOUR OWN CHAIN WITH NEW COMPONENT PLUGINS
Nectar 4 Advanced comes with a powerful suite of 13 individual plug-ins. Integrate the power of Nectar’s system into your DAW template to build your own custom chains for every vocal in your production. *VST3, AUv2, AAX only
A MATCH MADE IN HEAVEN: Celemony Melodyne 5 essential
As an added bene t to Nectar 4’s built-in Pitch correction, iZotope has partnered with Celemony to include Melodyne 5 essential: GRAMMY-award winning pitch and time correction. Melodyne adds surgical, intuitive, and truly transparent pitch adjustment capabilities that are an industry standard in professional studios around the world.
IMPROVED, REVAMPED MODULES AND REFRESHED USER INTERFACE
1. Improve Vocal Assistant Page: Instantly create custom presets using machine learning technology to optimize your vocal’s t in the mix.
2. New Backer Module: With iZotope’s Backer module, you can now create arti cial

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background singers that sit behind your main vocal. 3. New Voices Module: Instant, easy vocal layers: the Voices module gives you the
ability to create complicated layers for your vocal production without needing to learn voice-leading and harmonic motion. 4. New Auto Level Module: Automatically adjusts vocal levels before processing, eliminating the need for corrective dynamics or manual fader adjustments. 5. New Component Plug-ins: Comprehensive set of 13 vocal-focused production and mixing tools, including: EQ, Auto-Level, Breath Control, Backer, Pitch, Compressor, Voices, De-Esser, Saturation, Reverb, Gate, Delay, and Dimension. . Improved Unmask: Easily prioritize your vocal by reducing competing mix elements directly from the Vocal Assistant’s menu screen. Dynamic EQ with Follow EQ Mode: Real-time tracking and removal of troublesome resonances, saving time and effort. 7. Inter-plugin Communication: Nectar 4 Mothership communicates with other iZotope plug-ins in your session to address tonal balance and masking.
Extras:
1. Nectar 4 Breath Control plug-in: Reduces unwanted breaths without compromising audio quality.
2. Melodyne 5 Essential: Award-winning time and pitch correction software. 3. iZotope Relay: Central hub for intelligent connection between your entire mix and
iZotope plug-in collection. 4. Hundreds of Professionally-designed presets: Precon gured settings for music
and dialogue applications.
Vocal Assistant
Table of Contents
1. Vocal Assistant Work ow 2. Assistant Analysis 3. Vocal Assistant view interface 4. Intent Controls 5. Key and Range
. Target Library 7. Meter
. Global Header Controls
Vocal Assistant Work ow
Vocal Assistant is available in the Nectar 4 mothership plug-in. Select the Assistant button in the header of the plug-in to open the Assistant.

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NOTE
1. Vocal Assistant needs audio input: Make sure you are playing audio in your DAW.
2. Vocal Assistant needs time to analyze your vocal. If you are trying to run Vocal Assistant on a clip shorter than 20 seconds, you should enable loop playback before starting Vocal Assistant.
Assistant Analysis
An analysis pass will run rst.

Vocal Assistant runs through the following steps during analysis:
1. Analyzing input level to determine optimal RMS: Enables Auto-Level module (Advanced only) and adjusts the input gain to ensure an optimal input level.
2. Analyzing vocal signal to determine optimal settings: Analyzes your vocal to identify characteristics that will inform the processing applied in the subsequent steps.
3. Applying settings based on vocal content: Applies an initial “character” EQ curve and Dynamics settings.
4. Detecting vocal register: Analyzes pitch information in your vocal track and uses that information to set the Vocal Register for optimal Voices and Backer settings.
5. Learning subtractive EQ parameters to improve clarity: Learns the frequency content of your vocal and sets subtractive EQ bands to frequency values that will

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help to improve clarity. . Detecting vocal sibilance to set de-esser: Analyzes the frequency content of your
vocal for harsh, sibilant frequency content. If sibilance is detected, Vocal Assistant will set the optimal cutoff frequencies and threshold value for Deesser. 7. Applying dynamics for a controlled output level: Con gures Compressor settings to control the output level of your vocal. . Setting reverb mix level depending on selected assistant mode: Applies a subtle Reverb to your vocal to add a sense of space.
Vocal Assistant view interface
The following image outlines the key sections of the Vocal Assistant view:

1. Intent Controls 2. Target Library 3. Meters and Display 4. Key and Range
Intent Controls
Intent controls are parameters that allow for broad control over early decisions in your vocal production & mixing work ow. They work together with Vocal Assistant’s intelligent analysis, Targets and the Signal Chain to give you a simple work ow for tonal, dynamics, fx, width, and voice decisions in your mix. Intent Controls are exclusive to Vocal Assistant view in the mothership plug-in and are not available in the Nectar component plug-ins.

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The following control sections are available:
1. Shape 2. Intensity 3. FX 4. Voices 5. Width
Intent Controls are linked to deeper controls in the Detailed View of the mothership plug-in. Here is what each intent control is mapped to in the Detailed View:

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Intent Controls section: Control name Shape: Amount Shape: Power Button Intensity: Amount Intensity: Amount Intensity: Amount Intensity: Amount Intensity: Power Button Width: Width Amount FX: Y FX: X FX: X FX: X FX: Power Button FX: X FX: X FX: X FX: X FX: X FX: Y FX: Power Button FX: X FX: X FX: X

Mapped to Module Name: Control name EQ 2: Frequency Gain EQ 2: Module Bypass Compressor 1: Threshold Compressor 1: Ratio Compressor 1: Attack Compressor 1: Release Compressor 1: Module Bypass Global: Width Reverb: Wet Mix Reverb: Width Reverb: Predelay Reverb: Decay Reverb: Module Bypass Delay: Rate Delay: Depth Delay: Feedback L Delay: Feedback R Delay: Amount Delay: Wet Mix Delay: Module Bypass Dimension: Depth Dimension: Feedback Dimension: Width

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Intent Controls section: Control name FX: Y FX: Power Button Voices: Amount Voices: Left and Right Arrows Voices: Power Button Backer: Amount Backer: Left and Right Arrows Backer: Power Button

Mapped to Module Name: Control name Dimension: Wet Mix Dimension: Module Bypass Voices: Wet Mix Voices: Styles Voices: Module Bypass Backer: Wet Mix Backer: Targets Backer: Module Bypass

Key and Range
You can modify the Key and Vocal Range settings by clicking the following icon.

NOTE Only Octaves and Unison settings will be available in Voices until a Key is set.
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Target Library
The Target Library contains vocal targets and user generated reference targets. Setting a target provides helpful starting points for the Intent controls in the Vocal Assistant View and the modules in signal chain in the Detailed View.

By clicking the “+” button you can upload your own reference target to the Target Library to guide the Character EQ of Nectar 4.
Target Curves saved by the Audiolens application will appear here.

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Meter
The Tonal Balance Meter in the center of the Vocal Assistant shows the input signal against the target curve. Adjusting the Shape control will push your input signal closer to the target curve. Custom target curves will appear in this meter when added to the Target Library.
The following image outlines the metering information:
1. Input Signal 2. Tonal Balance Target Curve

Global Header Controls
To re-run Vocal Assistant processing before applying settings, click the Relearn button. To disable Nectar’s processing select the Bypass button.
To exit the Vocal Assistant screen, click the Detailed View button. Here you can make detailed adjustments to modules in Nectar 4.
Auto-Level

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Table of Contents
1. Overview 2. Controls
1. Learn 2. Target 3. Mix 4. Tame Noise 5. Listen
. Range 7. Strength
. Side-chain Mode 9. Bypass
3. Meters
1. Waveform Displays 2. Gain Reduction Trace
Overview
ALM (Auto Level Module) is an intelligent and transparent alternative to compressors. Placed at the start of your signal chain, it acts like a recording engineer, effortlessly managing vocal levels. ALM’s Tame Noise feature distinguishes between sung and unsung vocal content, ensuring only tonal elements are leveled. This gets rid of the need for manual volume automation, saving you time and effort. ALM provides consistent volume levels without introducing unwanted artifacts like traditional compressors, giving you a clean and natural sound.
Auto-Level is available as a mini-module in the mothership plug-in and as a component plug-in with Nectar 4 Advanced. The layout differs slightly between the mini-module and the component plug-in, two images are included throughout this chapter where the layouts differ.

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mini-module

Nectar 4 Help Documentation – Nectar 4 Help
component plug-in

Controls
Learn
Clicking the Learn button will enable a short analysis pass so that Auto-Level module can set an optimum RMS target.

mini-module

Component plug-in

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Target
The Target level can be set by adjusting the vertical handle in the Auto-Level module. The input signal will constantly adjust its level to hit the desired decibel level.

mini-module

Component plug-in

Mix
Adjusts the amount of leveling applied to the input signal. A setting of a 100% will apply leveling the entire input signal. A setting of 0% will result in no leveling applied to the input signal.

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mini-module

Component plug-in

Tame Noise
Tame Noise is an intelligent setting in the Auto-Level Module that can decipher between the sung material and noise introduced by the vocalist’s performance. By enabling Tame Noise, any non-sung or “noisy” content will be ignored by the leveling applied to the input signal, making it less pronounced in the nal leveled vocal. Examples of this are sounds from the throat or mouth that a singer may introduce into their signal as they ramping in or out of a vocal passage. Most professional engineers must manually manage this type of material with clip gain or automation. This mechanism replaces the need for that manual process.

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mini-module

Component plug-in

Listen
Enable this to hear the atonal information Tame Noise is detecting in the input signal.

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mini-module

Component plug-in

Range
Adjusts the total allowed leveling of the input signal. A setting of 6 decibels will limit the amount of leveling to a maximum of +6 or -6 dB in leveling. A setting of 12 will result in extreme leveling applied to the input signal. A setting of 1 will result in subtle leveling applied to the input signal.

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mini-module

Component plug-in

Strength
Adjusts the sensitivity of the leveling applied to the input signal. Higher settings will results in faster and more dramatic leveling applied to the input signal. Lower settings will result in slower and subtle leveling applied to the input signal. A setting of zero will result in no leveling applied to the input signal.

mini-module

Component plug-in

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Side-chain Mode
The side-chain mode in the Auto-Level Module helps you t your vocal into a dynamic arrangement in the even that a single consistent vocal level is not the ideal outcome of your mix. By leveraging the side-chain input, you can choose to have your vocal follow the level of an external source.

mini-module

Component plug-in

Enable
Enabling Side-chain Mode will cause the Auto-Level Module to apply leveling to the input signal using the side-chain input of Nectar 4 as a guide.

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Blend
Mixes the RMS Levels of the side-chain input and the constant ALM target level. A setting of 100% will apply the RMS level of the side-chain to the entire input signal. A setting of 0% will blend the leveling applied by the target level only. Note you must have side-chain routing setup in your DAW to use this feature accurately.
Bypass
Select this to bypass Auto-Level processing.
Meters
The following meters are included in the Auto-Level module:
1. Waveform Displays 2. Gain Reduction Trace

mini-module Meters in mothership

Component plug-in Meters in component

Waveform Displays
The scrolling waveform meters display the amplitude of the input (non-leveled) and output (leveled) signals over time. The meters scroll from right to left, with the most recent information on the right.
The leveled output signal waveform is displayed in light grey, in front of the input signal waveform. The uncompressed input signal waveform is displayed in dark grey, behind the output signal waveform. When the signal is being leveled, the gain reduction applied to the output signal can be observed in the difference between the two waveforms.
Gain Reduction Trace
The yellow trace line indicates the gain reduction applied by the leveling over time. The trace can be used to monitor the strength, range, and atonal information if listen is enabled over time.
Voices

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Table of Contents
1. Overview 2. Controls
1. Style Picker 2. Interval Styles
3. Visual Mixer View
1. MIDI Mode
4. Per Voice Controls
1. Header Controls 2. Gain 3. Pan 4. Fine 5. Delay
5. Global Module Controls
Overview
The Voices module can be used to build vocal harmonies by creating pitch- shifted copies of a vocal track. The voices module has 3 ways control harmonies in your music. You can use the Voices matrix to preview different Styles of harmonies, mix your voices using the Visual Mixer view, or put the Voices module into MIDI mode and perform your harmonies in realtime.

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SELECT A KEY TO EXPLORE ALL STYLES
You must select a key for your instance of Nectar 4 in order to explore all the possible styles available in the Voices module.

When “No Key” is selected, only Octave and Unison styles will be available.
Controls
The Voices module includes controls for adjusting processing applied to all voices, individual voices, a rich editing matrix for voices & chords, as well as an X/Y pad interface for mixing voices. These are the notable areas in the Voices module:
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1. Style Picker & Custom Styles 2. Direction 3. Filter 4. Pitch Correction 5. Time Variation
. Pitch Variation

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7. Solo . Piano Inspector View
9. Visual Mixer View 10. MIDI Mode Toggle 11. Per Voice Controls
Style Picker
The Style Picker gives you the ability to quickly audition different styles of harmonies the Voices module uses to harmonize your vocal. The 11 different styles have set rules for harmonic motion.
If a style doesn’t quite t your exact use case you can edit the Style by selecting the “(pencil)” button and enter the Custom Style editing mode to modify each style. Below outlines the expected rules for the default settings in each automatic harmony.
View
The Auto-Harmony view includes automatic harmony settings for creating complex vocal harmonies in your music without needing to know music theory or harmonic

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motion. This features a rich editor that gives you the ability to de ne the chords and scales the Voices module uses to create harmonies. The layout is arranged in a matrix.
1. Voices (horizontal rows) 2. Chords (vertical columns) 3. Main Vocal (unlabeled row)

Individual voices are arranged in horizontal rows and the chords those voices sing together with are laid out in vertical columns. The unlabeled white Voicing is your input vocal. Voices that are arranged above your input vocal will sing in a register above your input signal and voices that are arranged below your input vocal will sing below your input signal.
Interval Styles
There are two types of auto-harmonies available in the Style picker:
1. Static Interval Styles: Styles that create a static harmony interval. Static Interval Styles: Unison, Octaves, Thirds, Parallel.
2. Automatic Interval Styles: Styles that create a dynamic harmony based on the detected scale degree in your main vocal. Auto Interval Styles: Moody, Uplifting, Lush, Close, Closer, Happy, Sad.

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Static Interval Styles
These styles will show only one column since these set a single static voicing above or below your input signal.

Style Name Unison Octaves Thirds Parallel

Description
Creates doubles of the lead note. Creates voices that are octaves apart from the lead note. Creates harmonies that are (diatonically) either thirds above or sixths below the lead note. Creates harmonies using parallel triads.

Automatic Styles
Automatic Styles display several columns to allow for every note in the selected scale to have a unique note assignment for Western music styles.

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Style Name Moody Uplifting Lush Close Closer Happy Sad

Description
Creates harmonies primarily using the VII and i triads of the (relative) minor scale. When harmonizing the ( at) 6th scale degree of the (relative) minor scale as the lead note, the iv triad is used.
Creates harmonies primarily using the I and ii triads of the (relative) major scale. When harmonizing the 7th scale degree of the (relative) major scale as the lead note, the V triad is used.
Creates harmonies using the i7 and iio7 seventh chords of the (relative) minor scale. In this case, the use of the iio7 chord introduces the (non-diatonic) raised 7th scale degree/”leading tone” into the harmonies. This style is based on the (major) “sixth-diminished” scale popularized by the late jazz pedagogue Barry Harris.
Creates harmonies using notes from the pentatonic scale resulting in closed voicings, particularly when the lead assumes the top voice.
Creates harmonies using notes from the hexatonic scale resulting in (even tighter) closed voicings, particularly when the lead assumes the top voice.
Creates harmonies using the I, IV, and V triads of the (relative) major scale. When harmonizing either the 1st or 5th scale degrees as lead notes, the I triad is used.
Creates harmonies primarily using the i, iv, and V triads of the (relative) minor scale. In this case, the use of the V chord introduces the (non- diatonic) raised 7th scale degree/”leading tone” into the harmonies. When harmonizing the ( at) 7th scale degree of the (relative) minor scale as the lead note, the v triad is used.

Custom Styles
You can save your own Style using the Custom Style editing mode. Click on the pencil button to the right of the style picker menu to edit your Custom Style.

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The Custom Style editing mode has many features available for modifying how the Voices module harmonizes your input signal.
Quick Harmonies
Two large “+” buttons are available below and above the Custom Style editing mode. On hover you will be presented with recommended harmonies to quickly add to your Custom Style. Selecting one from below will add that voicing below the main voice, selecting one from above will add that voicing above the main voice. Selecting a Quick Harmony will create a new voice with every scale degree set to the Quick Harmony you selected.

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Modifying Individual Notes
Select a note in Custom Style editor mode to modify it. A menu will appear that allows you to select any tonal or atonal notes available in the selected key.

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Direction
The Direction buttons are a quick way to adjust the register of each Voice relative to the main vocal. Direction is available in the Style View and Custom Style Mode. Click the following buttons to make adjustments to Direction:

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1. General Direction Controls: Adjusts the voices “(arrow up)” above, “(arrow down)” below or around “(-)” the main vocal.
2. Per Voice Octave Shift: Adjusts the octave shift of a speci c voice in the Custom Style editor.
Filter
The small lter display on the left side of the Voices module panel includes low and high shelf lter controls for shaping the output of the Voices module.

NOTE The post lters are applied to the wet (processed) output signal of the Voices module. To adjust the shelf lter values:
1. Adjust the L and H Gain Controls to modify gain. 2. Drag Filter handles left and right to modify frequency cutoffs.
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Pitch Correction
Adjusts the speed and amount of pitch correction applied to the harmonies generated by the Voices module.

Variation: Time
Scales the amount of time offset applied to the generated voices. Increasing this control can help to reduce phase cancellation in the generated voices, as well as increase the chorus-type effect of multiple performers singing the same part.
Variation: Pitch
Scales the amount of pitch offset applied to the generated voices. Increasing this control can help to humanize the character of the harmonies by varying the pitch of each voice slightly. It can also be used to reduce phase cancellation in the generated voices.
Piano Inspector View
The Piano at the bottom of the Voices module gives you a color-coded visual layout so you can see what notes, chords, and key you’re working on at any given moment. In order to see notes laid out on the keyboard select one of the notes in the Voices view. This will show you all notes in the chord in the key you have set for Nectar 4. Selecting different notes in a chord will highlight that note’s associated color in the Piano Inspector.

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In the above gure, the seventh scale degree is selected in the key of B Major. The notes in the selected column are laid out in the Piano View with each note corresponding to its relative color.
Note View & Interval View Toggle
This toggle will present the Note information in the main editor in two different ways:
1. To view Note names select “ABC”: This setting will present the note information as the literal Notes in each scale degree key sung by each Voice. A comma will appear next to a note to indicate this note is an octave below the relative register. This only appears for Automatic Styles.

2. To view Notes as intervals select “123”: This setting will present note information as intervals relative to the main vocal.
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Solo (Voices)
When enabled, the main voice will be muted and all voices created by the Voices module will be played back in isolation.
Visual Mixer View
The Voices module includes a node-based X/Y mixer interface for easily adjusting the level and pan up to eight voices.

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The Mixer view in the Voices module panel allows for the adjustment and management of Voice nodes. The x-axis (horizontal) of the XY pad represents the stereo pan position of a voice. The y-axis (vertical) represents the gain (level) of a voice.
MIDI Mode
Enables the ability to control the pitches of Voices using a MIDI controller or MIDI track.

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When MIDI mode is enabled, the nodes in the Voice XY Pad Controller will be highlighted when an incoming MIDI note is playing the voice. Voices are assigned to incoming MIDI notes in the order they are received. The voice node numbering determines the order in which voices are played, the lowest available voice node number will be played rst.
EXAMPLE: MIDI NOTE VOICE ASSIGNMENT For example, if four voice nodes are enabled in MIDI mode:
1. When a single MIDI note is played, Voice 1 will be triggered. 2. When a second MIDI note is played before the rst note is released, Voice 2
will also be triggered. 3. If the rst note is released and a third note is played after it, Voice 1 will be
triggered again.
NEED HELP SETTING UP MIDI MODE? Click on the ? button (to the right of the MIDI button in the Voices module) to view a setup screen with steps for con guring MIDI mode in your DAW without leaving the plug-in.

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Per Voice Controls
The Note Inspector appears when a Voice is selected in the Main Voices View or Visual Mixer. Controls in this view are per-voice controls.

Header Controls
The top of the node inspector panel includes parameters for enabling, disabling and soloing the currently selected voice node.

1. Enable: Enables or disables processing of the currently selected voice. 2. Solo: Outputs the currently selected voice in isolation. 3. Remove: Deletes the currently selected voice.

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Gain
Displays the amount of gain added to the currently selected voice. The Gain control allows for adjustments ranging from -20dB (decibels) to 0dB (decibels).

VOICE GAIN ADJUSTMENTS The level of a selected voice node can be adjusted using the following methods:
1. Click and drag the node up (increase gain) or down (decrease gain) in the Visual Mixer view.
2. Click on the gain value readout in the voice controls panel and manually enter a value in the inline edit eld.
Pan
Displays the stereo pan position of the currently selected voice. The Pan control allows for adjustments ranging from -100 (hard left) to +100 (hard right).
VOICE PAN ADJUSTMENTS The Pan value of the selected voice node can be adjusted using the following methods:
1. Click and drag the node left or right in the Visual Mixer view. 2. Click on the Pan value readout in the voice controls panel and manually enter
a value in the 3. inline edit eld.

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Fine
Determines the amount of ne pitch adjustment applied to the selected voice.

The Fine control allows for adjustments ranging from -100 ct (cents) to +100 (cents). 100 cents is equivalent to 1 semitone.
Delay
Determines the amount of time delay applied to the selected voice.

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The Delay control allows for adjustments ranging from 0 ms (milliseconds) to 100 ms (milliseconds).
Global Module Controls
The module chain features common controls for each module, including Bypass, Solo, Remove, Reorder, and Wet/Dry Mix.

Backer
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Table of Contents
1. Overview 2. Target Personas 3. Control Panel
1. Blend 2. Tone 3. Formant 4. Pitch 5. Target Registers
. Custom
4. Global Module Controls
Overview
Backer uses singing voice conversion technology to transform the input vocal into a target (reference) vocal. Singing voice conversion is a technique employing arti cial intelligence to capture and shift formants and sibilances.

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VOCAL REGISTER Determines how the Backer module analyzes and detects pitch data in the input signal. The Mid option will work well for a wide range of vocal material. If the pitch correction processing is producing artifacts or other undesirable behaviors, try using the Low or High settings to achieve better results.
Target Personas
There are 8 target personas available in the Backer Module. Each one was trained on a different person’s voice to capture the timbre. The different persona characteristics are described below. Each voice is available as an automation parameter in your DAW, so you can change voices throughout your arrangement.

Control Panel
The control panel hosts several tools for you to modify the sound of the Backer module. These controls are curated for voice processing.

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Blend

This mixes the output of the module with the Target persona and the original signal. You can use this to add or remove the sound of the selected timbre in the module.
Tone

This is a Tilt EQ that brightens the high end or darkens the low end. -100 darkens the processed signal +100 brightens the processed signal.
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Formant

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Shifts transformed vocal formants. A setting of -12 will result in deeper vocal tones, while a setting of +12 will result in brighter vocal tones.
Pitch
Transposes the input signal up or down in pitch by an octave.
Octave Snap
The + or – minus in the pitch controls are available to conveniently snap the pitch setting to an octave above or below quickly.
Target Registers
Note that depending on the chosen vocal register, there may already be a pitch shift (either up or down an octave) behind the scenes to transform to the target persona. You can use the pitch shift controls to modify source pitch if you do not want a pitch shift. Example: If your source register (the input signal) is set to “High” and the target singer’s register is Low, a pitch shift of -12 semitones will be applied to your input signal.

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Personas by Register

Low Register

Medium Register

High Register

Custom
The custom section allows you to upload an audio le to use as a Target for the Backer module. Click the + button to load a le from your desktop.

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TIP Backer is optimized for vocal les. Use an isolated vocal stem to get the best results.
Global Module Controls
The module chain features common controls for each module, including Bypass, Solo, Remove, Reorder, and Wet/Dry Mix.
GLOBAL CONTROLS Learn more about these controls in the Global Controls chapter.
Pitch

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Table of Contents
1. Overview 2. Accessing the Pitch Mini-Module 3. Pitch Controls
1. Vocal Register 2. Scale 3. Custom 4. Transpose
4. Correction Controls
1. Enable Correction 2. Speed 3. Strength 4. Formant 5. Formant Scale
Overview
Pitch correction can be used to x out-of-tune vocal performances by automatically adjusting incoming notes to conform to the pitches of a speci ed musical scale. The Pitch module features controls for adjusting and tailoring pitch correction processing.
NECTAR 4 & MELODYNE 5 ESSENTIAL Melodyne 5 essential is included with Nectar 4. It can be used to edit the pitch and timing of individual notes within a vocal track.
Pitch is available as a mini-module in the mothership plug-in and as a component plugin with Nectar 4 Advanced. The layout differs slightly between the mini-module and the component plug-in, two images are included throughout this chapter where the layouts differ.

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Mini-module

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Component plug-in

Accessing the Pitch Mini-Module
You can access the Pitch mini-module by clicking on the arrow button to the right of the Key label on the left side of the Nectar 4 mothership plug-in. This option is available below Key Detection in the Nectar Standard View.

SHARED CONTROLS
The Vocal Register and Scale settings in the mini-module panel are shared by the Pitch, Voices, EQ, and Backer modules. These controls determine how Pitch & Voices detect pitch and apply correction to the incoming vocal. Additionally Vocal Register determines the vocal range of the input signal so that the Follow EQ feature can work effectively in the EQ and the Backer module can change the timbre of the input signal correctly.

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Pitch Controls
PITCH MIX SLIDER The Mix slider in the Pitch may introduce a doubling type of effect when set to a value that mixes wet and dry signals.
Vocal Register
Determines how the Pitch and Voices modules analyze and detect pitch data in the input signal. The Mid option will work well for a wide range of vocal material. If the pitch correction processing is producing artifacts or other undesirable behaviors, try using the Low or High settings to achieve better results.

mini-module

component plug-in

Scale
Sets the type of scale used for pitch correction in the Pitch and Voices modules. This setting determines the notes that the incoming vocal will be corrected to.
There are three scale types to choose from: Major, Minor, and Custom. The default scale type selection is “No Key”.

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mini-module

component plug-in

Auto Detect
When Key mode is selected, the Auto Detect feature can be enabled to assist with selecting the root note and scale type of the incoming vocal.
Click the Auto Detect button and playback audio to allow Nectar to begin listening to the incoming signal. As audio plays back, the three most likely scales will be displayed in the Auto Detect window.
Select the scale you would like to use and click the checkmark button to set the root note and scale type. Click the x button to dismiss the Auto Detect window without changing the current scale settings.

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mini-module

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component plug-in

CALIBRATING NECTAR’S REFERENCE PITCH By default, pitch detection and correction assumes the input material was tuned to a standard A = 440Hz reference pitch. When working with material that was tuned to a different reference pitch, adjusting the Calibration Pitch value in the Options menu will improve the results of pitch detection and correction.
Scale Type
Sets the scale used to correct the incoming signal. You can choose from the following scale types:
1. MAJOR: Notes included in the selected Major key will be used as a target pitches for correction.
1. Example: When C# Major is selected, the following notes will be used as target pitches for correction: C#, D#, E#, F#, G#, A#, B#
2. MINOR: Notes included in the selected Minor key will be used as target pitches for correction.
1. Example: When E Minor is selected, the following notes will be used as target pitches for correction: E, F#, G, A, B, C, D
Custom
When the Custom scale type is selected, a keyboard display will appear.

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Clicking on individual keys will enable or disable them from the custom correction scale. When a key is disabled in this display, it will be excluded from the available target pitches when processing.
Custom scales will automatically transpose if another Custom note is selected. Example: If a C’ custom scale is set to Major notes with a Bb (minor 7th) and thenF’ Custom is selected, all the notes will transpose to the same intervals with F as the root note.

Custom C Major with a b7

Custom F Major with a b7

Transpose
Determines the static amount of pitch shift applied to the corrected vocal. This control allows for a transposition range of -12 semitones to +12 semitones and is set to 0 (no transposition) by default.
NOTE Static transposition is only applied by the Pitch module. This processing is always
rst in the signal ow of Nectar, so all modules will be affected downstream in the signal ow of this processing.

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mini-module

component plug-in

Correction Controls
The following controls determine the character and speed of automatic pitch correction processing. These controls only apply to processing in the Pitch module.
Enable Correction
Enables or disables Pitch Correction processing.
Speed
Determines how quickly incoming pitches will be corrected to notes in the selected scale.
Speed allows for a range of 0 milliseconds to 200 milliseconds. Lower speed settings equate to faster correction response, which can result in more robotic sounding pitch correction. Higher speed settings equate to slower correction response, which can result in more natural sounding pitch correction.

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mini-module

component plug-in

Strength
Determines how strictly incoming signals will be corrected to notes in the selected scale.
Higher values will eliminate or reduce natural vibrato in the processed vocal. Lower values will retain vibrato in the processed vocal, allowing for more natural sounding results.

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component plug-in

Formant
Enables or disables advanced controls for ne tuning formant shift and formant scaling.
By default, Nectar preserves vocal formants in the incoming signal just as they were recorded. Formants contribute to the timbre of the human voice, an important aspect of a natural sounding vocal. In some cases, it may be necessary to adjust the formant shift and scaling parameters to achieve the best results.
Formant Shift
Determines the amount of formant transposition applied to the corrected vocal. This control can be adjusted in increments of semitones (st). In general, the default value of 0 is suitable for most material.

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mini-module

component plug-in

Formant Scale
Determines the amount of scaling applied to formants when shifting pitch. Scale will always adjust formants in the direction of the pitch shift.
Increasing the amount of formant scaling will shift formants in the direction of the pitch shift. When a singer transitions to a higher note, their vocal formants will shift slightly higher in the direction of that note. Adjusting formant scaling can help to achieve more natural sounding results when a vocal is shifting up or down drastically between notes.

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mini-module

component plug-in

Vocal Unmask
Table of Contents
1. Overview 2. Vocal Unmask Con guration
1. Unmask Source Selection 3. Analysis 4. Advanced Unmask Controls 5. Apply Settings
Overview
Vocal Unmask will intelligently create an optimal starting point for a vocal. It can also help a vocal stand out in the mix by communicating with IPC compatible iZotope plugins to unmask the vocal from other elements in the mix.
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Click the “Unmask” button in the header of the plug-in interface to open the Vocal Unmask screen.
Vocal Unmask Con guration
UNMASK REQUIRES AN IPC SOURCE TO WORK Unmask requires a compatible iZotope plug-in to be inserted on another track in your session in order to work.

Unmask analysis can occur when one of the following plug-ins is present as an insert on the track that is masking your vocal: Relay, Nectar, or Neutron. After con guring a source plug-in, click Next to continue.
Unmask Source Selection
Select the source IPC plug-in for Unmask analysis.

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CHOOSING AN UNMASK SOURCE
1. Select a plug-in in the Unmask dropdown that is inserted on a track that is masking the vocal.
2. For the best results, the source plug-in that is selected in the Unmask dropdown should be after all other inserts on the track it is inserted on.
3. For example, Insert Relay in the last insert slot of a track that is masking the vocal. Select that Relay instance from the Unmask dropdown menu.
Analysis
After con guring the Vocal Unmask Options, ensure audio is playing back and click the “Next” button to continue to the analysis screen.
NOTE
1. Vocal Unmask needs audio input: Make sure you are playing audio in your DAW.
2. Vocal Unmask needs time to analyze your vocal. If you are trying to run Vocal Unmask on a clip shorter than 20 seconds, you should enable loop playback before starting Vocal Unmask.
Unmask analysis listens to the selected source and the current vocal track and compares them to detect the presence of masking.
If no signi cant masking is detected between the vocal and the Unmask source, the nal Unmask step will state “No signi cant masking detected” and no EQ curve will be
applied to the selected source plug-in.
If masking is detected, an EQ curve will be applied to the instance you selected in the Unmask dropdown. Plug-ins that are unmasking Nectar will update to display an “Unmask” indicator and power button above the I/O level meters.
You can enable/disable Unmask by opening the source plug-in and toggling the power button to the left of the “Unmask” indicator.

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Advanced Unmask Controls
Extended Unmask options are available in the selected source plug-in when they are unmasking Nectar.
A down arrow will appear on the right side of the Unmask indicator of a source plugin when advanced unmask controls are available. Click on the Unmask indicator to expand the advanced unmask panel.
The advanced unmask panel includes:
1. NAME: The Nectar instance that is being unmasked. 2. UNMASK EQ CURVE DISPLAY: Displays the unmask EQ curve being applied to
the Nectar instance. Hover your cursor over the EQ curve to display EQ frequency and gain values. 3. AMOUNT: Scales the intensity of unmask EQ cuts. 4. DYNAMIC: Enables/disables dynamic unmask EQ.
1. When enabled, unmask EQ cuts will be applied when the masking signal exceeds a xed threshold. The EQ curve display will animate to re ect changes to the EQ curve when Dynamic mode is enabled.
5. SIDECHAIN: Only available when Dynamic mode is enabled. Sets the dynamic EQ detection input to the sidechain input source con gured for the plug-in.

Vocal Unmask in Neutron

Vocal Unmask in Relay

Vocal Unmask in Nectar

Apply Settings
To apply the results of Vocal Unmask, click the “Accept” button. To re-run Vocal Unmask processing before applying settings, click the back button. To exit the Vocal Unmask screen without applying any changes, click the x button.
Global Controls

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Table of Contents
1. Overview
1. Resizable Window 2. Plug-in Instance Name
2. Module Chain
1. Add 2. Reorder 3. Enable 4. Solo 5. Remove
. Mix
3. Limiter
1. Limiter Ceiling 2. Gain Reduction Meter
4. Input and Output
1. Meters 2. Gain 3. Bypass 4. Match 5. Width
. Pan
Overview
The Module Chain and I/O section include a number of parameters for customizing the IPC instance name, signal ow, levels, and stereo image of Nectar 4.
Resizable Window
Nectar features a resizable main window. The window can be resized by clicking and dragging the bottom right corner of the plug-in window.
Plug-in Instance Name
Determines the name of the current instance when it appears in IPC lists in supported iZotope plug-ins.

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Module Chain
The Module Chain allows for highly customizable vocal processing chains.
The following modules can be added to the module chain:
1. Backer 2. Compressor (x2) 3. De-Esser 4. Delay 5. Dimension
. EQ (x2) 7. Gate
. Reverb 9. Saturation 10. Voices
The following functions and controls are available in the module chain: Add, Reorder, Enable, Solo, Remove, and Mix.
Add
Clicking the + button in the rightmost position of the module chain will open the module menu. Select a module from the list to add it to the last slot in the module chain.

MODULE LIMITS Most modules can only be added to the module chain once. If a module has been added to the module chain already, the option in the module list will be greyed out. Only the EQ and Compressor modules can be added to the module chain twice.
Reorder
Click and drag a module panel left or right within the Module Chain to change its order in the signal ow.
Enable
Click the power button the upper left corner of a module tile to bypass processing of that module.

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Solo
Click the S button on the left side of a module tile to bypass processing in all other modules.
Remove
Click the X button on the left side of a module tile to remove the associated module from the module chain.
Mix
The slider on the right side of a module tile adjusts the balance between the dry (unprocessed) and wet (processed) signals.
Limiter
Enables a brickwall, zero latency limiter on the output signal. The Limiter is applied to the signal after output gain.
Limiter Ceiling
Determines the maximum output level of the plug-in when the limiter is enabled. The hard limiter uses the Ceiling as an absolute guide, and the nal output level will not exceed this point.
1. Click and drag the slider handle up or down to adjust the Ceiling value. 2. Click on the Ceiling slider handle, then click on the text readout display that
appears. Manually enter a value in the inline edit eld.
Gain Reduction Meter
Displays the amount of gain reduction applied to the output signal by the Limiter.

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Input and Output
Meters
The Input and Output meters display Peak and RMS metering information. The Peak level meter is displayed in white. The RMS level meter is displayed in grey.
The text readouts directly below the meters display the current Peak and RMS values. The current Peak value is displayed in white. The current RMS value is displayed in light grey.
Gain
The Input and Output Gain can be adjusted using the sliders to the left of the input and output meters.

TIPS: ADJUSTING THE I/O GAIN 1. Click and drag the slider handle up (increase input or output gain) or down (decrease input or output gain). 2. Double-click on the text readout directly below the gain sliders and manually enter a gain value in the inline edit eld.
Bypass
Bypasses all processing applied by Nectar.
Match
When Nectar is bypassed and Match is enabled, the bypassed signal level will be adjusted to match the processed output level.

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Width
Adjusts the amount of stereo widening. Decreasing this control results in a narrowing effect (-100% is equivalent to mono), increasing this control widens the apparent stereo eld.
STEREO INSTANCES ONLY Width is only functional in stereo instances of Nectar.

Pan
Pans the output signal to the left or right channel.
STEREO INSTANCES ONLY Pan is only functional in stereo instances of Nectar.

Compressor
Table of Contents
1. Overview 2. Controls
1. Mode 2. Level Detection Mode 3. Threshold 4. Ratio 5. Attack
. Release 7. Makeup Gain
. Auto Gain 9. Global Module Controls
3. Meters
1. Waveform Displays 2. Gain Reduction Trace 3. Gain Reduction Meter

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Overview
A compressor can be used to reduce dynamic range, maintain consistent levels, and shape the tone and character of a vocal track. Nectar includes two Compressor modules that can be placed in series within the module chain, allowing for a variety of vocal compression con gurations. The Compressor modules include controls for adjusting the amount, speed, and character of processing and robust metering for visualizing the effect of processing.
Controls
The controls in the Compressor module work together to in uence the character, amount, and speed of the compression applied to the input signal. The following controls are available in the Compressor module:
1. Mode 2. Level Detection Mode 3. Threshold 4. Ratio 5. Attack
. Release 7. Makeup Gain
. Auto Gain
Mode
Determines the processing algorithm used by the Compressor. There are four unique mode options available: Digital, Vintage, Optical, and Solid-state. The Mode selection in uences the character of compression and will also determine the ranges of the Ratio, Attack, and Release controls.
The following table describes the sonic characteristics and associated control ranges for each of the compressor modes.

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Mode Digital

Description
Modern, surgical compression. Ideal for achieving precise, clean sounding linear compression with minimal coloration.
1. Ratio: 1:1 to 50:1. 2. Attack: 0.1ms to 300ms. 3. Release: 1ms to 1200ms.

Classic, analog compression. Emulates the program-dependent response and non- linear release characteristics of classic analog compressors.

Vintage

1. Ratio: 1:1 to 50:1. 2. Attack: 0.1ms to 300ms 3. Release: 1ms to 1200ms.

Optical

Smooth and transparent compression with subtle coloration. Emulates the subtle harmonic coloration and non-linear attack and release characteristics of classic hardware optical compressors.
1. Ratio: 4:1 (Ratio is xed to 4:1 when Optical mode is selected.)
2. Attack: 1ms to 100ms.
3. Release: 40ms to 200ms.

TIP
Use RMS level detection mode (rather than Peak level detection) to more faithfully emulate the sound of hardware optical compressors, which utilized RMS level detection.

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Mode
SolidState

Description
Clear but aggressive compression with unique harmonic coloration. Emulates the fast attack, non-linear release times and harmonic characteristics of early VCA transistor-based hardware compressors. Solid-state mode can be useful for accentuating vocal transients.
1. Ratio: 4:1 to 12:1.
2. Attack: 0.2ms to 80ms.
3. Release: 50ms to 1200ms.

TIP
Use Peak level detection mode (rather than RMS level detection mode) to best highlight the pleasing harmonic coloration effect of the Solid-state algorithm.

Level Detection Mode
The Level Detection Mode determines how input levels are calculated by the compressor. Adjusting the level detection mode will alter the level that is considered by the threshold, which will affect when or how often the input level will trigger compression.
The Compressor includes two level detection modes: Peak and RMS.
1. Peak: Determines input level to the compressor using instantaneous peak levels of the incoming signal.
2. RMS (Root Mean Square): Determines input level to the compressor by averaging levels of the incoming signal.
Threshold
Determines the signal level at which the compressor begins processing.

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When the input level exceeds the threshold level, the compressor will be triggered. Signals that exceed the threshold level will be reduced according to the Ratio. The attack phase of the compressor begins when the input level exceeds the threshold level. The release phase of the compressor begins when the input level falls below the threshold level.
THRESHOLD TIPS
1. Click and drag the Threshold slider handle up (to increase the Threshold) or down (to decrease the Threshold).
2. Click on the Threshold value readout text and manually enter a value in theinline edit eld.
3. Use the waveform displays as a visual guide when setting the threshold level for the compressor.
Ratio
Determines how much gain reduction will be applied to signals that exceed the threshold level. When ratio is set to a value of 1:1, no attenuation will be applied to signals that exceed the threshold. Ratio settings of 10:1 or greater allow the compressor to function as a limiter. Limiting ratios can be used to ensure that the output signal level does not exceed the threshold level.

OPTICAL MODE RATIO SETTING When Optical mode is selected, the Ratio control is xed to 4:1.
Attack
Adjusts the amount of time it takes for the compressor to apply gain reduction when the input signal exceeds the threshold. Attack time can be adjusted in increments of milliseconds (ms).
Release
Adjusts the amount of time it takes for the compressor to stop processing when the input signal falls below the threshold. Release time can be adjusted in increments of milliseconds (ms) and are typically longer than attack times.

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Makeup Gain
Determines the amount of static gain applied to the output signal after compression.
Auto Gain
Automatically adjusts the gain of the compressed signal in order to match the level of the input signal.

Global Module Controls
The module chain features common controls for each module, including: Bypass, Solo, Remove, Reorder, and Wet/Dry Mix.
GLOBAL CONTROLS CHAPTER To learn more about the module chain and other global controls, visit the Global Controls chapter.
Meters
The following meters illustrate how the Compressor is responding to and processing the input signal:
1. Waveform Displays 2. Gain Reduction Trace 3. Gain Reduction Meter
Waveform Displays
The scrolling waveform meters display the amplitude of the input (uncompressed) and output (compressed) signals over time. The meters scroll from right to left, with the most recent information on the right.
The compressed output signal waveform is displayed in light grey, in front of the input signal waveform. The uncompressed input signal waveform is displayed in dark grey,

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behind the output signal waveform. When the signal is being compressed, the gain reduction applied to the output signal can be observed in the difference between the two waveforms.
NOTE: AUTO GAIN IN THE OUTPUT WAVEFORM Auto gain adjusts the level of the compressed signal to compensate for any level difference between the uncompressed and compressed signals. The gain change introduced by auto gain is re ected in the output waveform, which may make it more di cult to differentiate between the input and output waveforms. The gain reduction trace meter can be useful for monitoring gain reduction over time when auto gain is enabled.
Gain Reduction Trace
The yellow trace line indicates the gain reduction applied by the compressor over time. The trace can be used to monitor the response times (attack and release phases) and gain reduction applied over time.
Gain Reduction Meter
Displays the current average amount of gain reduction applied to the signal. This meter displays gain reduction in decibels (dB).

De-esser
Table of Contents
1. Overview 2. Controls
1. Detection Filter Cutoff 2. Threshold 3. Listen 4. Global Module Controls
3. Meters
1. Spectrum Analyzer 2. Gain Reduction Meter

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Overview
A de-esser can be used to control sibilance and tame other high frequency issues in a vocal track. Traditionally, a de-esser dynamically reduces loud sibilant content using a threshold and ratio. The Nectar De-esser module is a hardware-modeled level independent processer, allowing for consistent and transparent reduction of sibilance in signals with variable levels, like a vocal track. The De-esser works by analyzing the current level above a speci ed frequency cutoff and comparing that level against the level of the full frequency bandwidth of the signal. When large differences in level are detected, gain reduction will be applied to the entire incoming vocal signal.
Controls
The De-esser module includes controls for adjusting the detection and reduction of sibilant frequency content. The controls are positioned on the right side (upper frequency range) of the De-esser module panel.
Detection Filter Cutoff
Determines the lower frequency boundary for the detection lter frequency band. Any frequency content that is above the cutoff frequency will be used for De- esser detection.
The detection lter cutoff can be set to frequency values ranging from 800 Hz (Hertz) to 8 kHz (kilohertz).
ADJUSTING THE DETECTION CUTOFF FREQUENCY The detection lter cutoff frequency can be adjusted using the following methods:
1. Click and drag the node at the top of the De-esser module panel to the left (lower frequency value) or right (higher frequency value).
2. Click on the cutoff frequency text readout display and enter a value manually in the inline edit eld. The current frequency readout is located on the bottom edge of the De-esser module panel, to the right of the Detection Cutoff Frequency line.
3. Double-click on the cutoff node handle to reset the Detection Cutoff Frequency to the factory default value.

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Threshold
Determines the threshold level for ess reduction and the amount of gain reduction applied to the incoming signal when sibilance is detected.
When sibilance is detected and its level exceeds the Threshold level, the De- esser will apply reduction to the entire bandwidth of the incoming signal.
The amount of reduction applied to the signal depends on how much the sibilance level exceeds the Threshold. More gain reduction will be applied as the sibilance level increases farther above the Threshold level.
ADJUSTING THE THRESHOLD The Threshold can be adjusted using the following methods:
1. Click and drag the Threshold handle up and down to adjust the level. 2. Click on the Threshold level readout text and enter a value manually in the
inline edit eld. The Threshold level readout is located on the right edge of the De-esser module panel, directly above the Threshold line. 3. Double-click on the Threshold slider handle to reset the Threshold to the factory default value.
Listen
When enabled, the signal content that is being reduced by the De-esser is played back in isolation.

TIP Engage Listen to monitor the difference between the unprocessed and processed signals. This outputs only the signal content being reduced by the De-esser. Try adjusting the Threshold and Detection Filter Cutoff until the Listen output only contains the ess sounds you are trying to reduce.
Global Module Controls
The module chain features common controls for each module, including Bypass, Solo, Remove, Reorder, and Wet/Dry Mix.

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GLOBAL CONTROLS CHAPTER To learn more about the module chain and other global controls, visit the Global Controls chapter.
Meters
The De-esser module features two spectrum analyzers (pre- and post-processing) and a gain reduction meter for monitoring the effect of the De-esser processing.
Spectrum Analyzer
Displays the magnitude of a signal across the frequency spectrum in real-time. The vertical ruler on the left edge of the module panel measures the amplitude of the signal in decibels (dB). The horizontal ruler along the bottom edge of the module panel measures frequency in Hertz (Hz).
Two spectrum analyzers are displayed in the De-esser module: the input to the Deesser module (displayed in dark grey with no border) and the output of the De-esser module (displayed in light grey with a white border).
Gain Reduction Meter
Displays the current average amount of gain reduction applied to the signal. This meter displays gain reduction in decibels (dB).
Delay

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Table of Contents
1. Overview 2. Controls
1. Delay Controls 2. Saturation 3. Modulate 4. Post Filter 5. Global Module Controls
3. Meters
1. Spectrum Analyzer
Overview
Delay can be used to thicken and add a sense of space to a vocal track. The Delay module features stereo delay processing with ve distinct saturation modes and modulation options.
Controls
The Delay module controls panel includes parameters for customizing the timing and character of the delay effect.
The Delay controls panel includes the following groups of parameters:
1. Delay 2. Saturation 3. Modulate
Delay Controls
The Delay module offers different controls depending on the channel count of the track that Nectar is inserted on.
1. MONO: When Nectar is inserted on a mono track, a single set of delay controls (Delay, Tempo Sync, and Feedback) are available in the Delay module controls panel.
2. STEREO: When Nectar is inserted on a stereo track, two sets of delay controls (Delay, Tempo Sync, and Feedback) are available in the Delay module controls panel, allowing for independent or linked adjustment of left and right channel
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delays.
Delay
Determines the amount of time between each successive repeat of the incoming signal. When Tempo Sync is disabled for the associated channel, the Delay control will be adjusted in increments of milliseconds (ms), ranging from 1ms to 3500ms.
Tempo Sync
When enabled, the Delay control will be adjusted in increments of musical note values. The duration of the musical note value is based on the tempo of the session.
When Tempo Sync is enabled, the Delay control supports note values ranging from 1/64T (fast – shortest delay between repeats) to 8. (slow – longest delay between repeats).
EXAMPLE: TEMPO SYNC NOTE DURATIONS
1. When the session Tempo is set to 120 BPM: The duration of a quarter note is 500 milliseconds, meaning the input signal will be delayed for 500ms before repeating.
2. When the session Tempo is set to 220 BPM: The duration of a quarter note is 273 milliseconds, meaning the input signal will be delayed for 273ms before repeating.
Feedback
Determines the amount of delayed signal that is fed back into the input of the delay.

Link
Enables channel linking of delay control values when the Delay module is instantiated as a stereo effect.

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NOTE: RIGHT CHANNEL LINK BEHAVIOR When Link is enabled, the right channel Delay and Feedback values will snap to match the left channel values. When Link is disabled, the right channel controls will snap back to the values set before enabling Link.
Saturation
The Delay control panel includes parameters for adjusting the saturation mode and amount.
Mode
Determines the type of saturation effect applied to the delayed signal.
The following table outlines the sonic characteristics of the different saturation modes.

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Mode Digital

Characteristics
Transparent, clean delay. Provides exact copies of the incoming signal with minimal coloration.

Tape

Classic, colorful drive. Filters and distorts each progressive repeat in the way a signal would be degraded over time on magnetic tape.

Analog

Gritty, distorted edge. Based on circuit distortion, can lend gritty edge to the delayed signal.

Grunge

Dirty, degraded character. Adds post-feedback crunchy drive to the delayed signal.

Echo

Pronounced presence boost. Repeats and fades out tape saturated copies for adding creative depth and impactful presence.

Amount
Adjusts the amount of drive applied to the saturation.
Modulate
Enables Rate and Depth parameters for adjusting LFO modulation of delay time.

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1. Rate: Determines the speed of the LFO modulation, i.e how often the delay time is modi ed by the LFO.
2. Depth: Determines the intensity of LFO modulation, i.e. how much the delay time is modi ed from the baseline Delay time value.
Post Filter
The highpass and lowpass lters in the Delay module allow for undesirable low and high frequency content to be ltered out of the processed signal.
POST FILTER 1. The high and lowpass lters in the Delay module are only applied to the wet (processed) output of the module. 2. Click and drag the lter node left and right to adjust frequency.
Global Module Controls
The module chain features common controls for each module, including: Bypass, Solo, Remove, Reorder, and Mix.
GLOBAL CONTROLS CHAPTER To learn more about module chain and other global controls, visit the Global Controls chapter.
Meters
The Delay module features two spectrum analyzers for monitoring the effect of processing.
Spectrum Analyzer
Displays the magnitude of a signal across the frequency spectrum in real-time. The vertical ruler on the left edge of the module panel measures the amplitude of the signal

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in decibels (dB). The horizontal ruler along the bottom edge of the module panel measures frequency in Hertz (Hz).
Two spectrum analyzers are displayed in the Delay module: the input to the Delay module (displayed in dark grey, with no border) and the output of the Delay module (displayed in light grey with a white border).

Dimension
Table of Contents
1. Overview 2. Controls
1. Effect Modes 2. Modulation Controls 3. Width 4. Freq 5. Global Module Controls
3. Meters
1. Spectrum Analyzer
Overview
A modulation effect (e.g. chorus, anger, or phaser) can be used to add depth and movement to a vocal track. Modulation effects work by duplicating an input signal, modifying an aspect of the duplicated signal using an LFO (low frequency oscillator) and then mixing the original and modi ed signals together. The effect modes in the Dimension module allow for a range of subtle to wacky vocal modulation effects.
Controls
The Dimension module controls panel includes parameters for customizing the different modulation effects.

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The following parameters are available in the Dimension controls panel:
1. Effect Modes 2. Modulation Controls 3. Width 4. Freq (Only available in Phaser effect mode)
Effect Modes
The Dimension module includes three different modulation effects, Chorus, Flanger and Phaser. The effect mode can be changed using the buttons on the left side of the Dimension controls panel.

The following table describes how the different effect modes apply processing to an input signal.

Mode Chorus

Description
Chorus effects work by creating a delayed copy of a signal and modulating the delay with an LFO (low frequency oscillator). This results in gradual changes to the pitch of the copied signal. The modi ed signal and the input signal are mixed back together to create a pitch-modulated doubling effect, simulating the effect of two or more performers singing in unison.

Flanger

Similar to a Chorus, Flangers work by creating a delayed copy of a signal and modulating the delay with an LFO (low frequency oscillator). The modi ed signal and the input signal are then mixed together, resulting in a sweeping comb lter effect. Flanger delay times are shorter than chorus delay times.

Phaser

Phasers work by applying an all-pass lter to a copy of the input signal, creating a series of notches across the frequency spectrum. The positions of the frequency notches are modulated with an LFO (low frequency oscillator). The input signal and modulated signal are mixed together to create a sweeping effect. Unlike anger and chorus effects, Phasers do not use delay to modify the signal.

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Modulation Controls
The controls in the center of the Dimension module controls panel adjust the rate and depth of LFO modulation, as well as the amount of processed signal that is fed back into the input of the effect.
Rate
Determines the speed of the LFO modulation. When Chorus or Flanger effect modes are selected, the Rate control determines how often the delay time is modi ed. When the Phaser effect mode is selected, the rate control determines how often the lter positions are modi ed.
When Tempo Sync is disabled, the Rate control range extends from 0.01 Hz (slow longest modulation cycle) to 4.00 Hz (fast – shortest modulation cycle).
Tempo Sync
When enabled, the Rate control can be adjusted in increments of musical note values. The duration of the musical note value is based on the tempo of the session.
When Tempo Sync is enabled, the Rate control supports note values ranging from 1/64T (fast – shortest modulation cycle) to 8. (slow – longest modulation cycle).
EXAMPLE: TEMPO SYNC NOTE DURATIONS
1. When the session Tempo is set to 120 BPM: The duration of a quarter note is 500 milliseconds, meaning the LFO will complete a cycle once every 500ms.
2. When the session Tempo is set to 220 BPM: The duration of a quarter note is 273 milliseconds, meaning the LFO will complete a cycle once every 273ms.
Depth
Determines the intensity of LFO modulation. When Chorus or Flanger effect modes are selected, the Depth control determines how much the delay time between signals is modi ed from the default delay value. When the Phaser effect mode is selected, the

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Depth control determines how much the lter positions are modi ed from the default lter positions.
The Depth control range extends from 0% (effectively no modulation) to 100%.
Width
Determines the amount of stereo widening applied to the output of the modulation effect.
The Width control range extends from 0% (no stereo widening) to 100%.
Freq
Determines the starting frequency of the all-pass lter applied by the Phaser.

NOTE The Freq control is only enabled when the Phaser effect mode is selected.
Global Module Controls
The module chain features common controls for each module, including Bypass, Solo, Remove, Reorder, and Wet/Dry Mix.

GLOBAL CONTROLS CHAPTER To learn more about the module chain and other global controls, visit the Global Controls chapter.
Meters
The Dimension module features two spectrum analyzer displays for monitoring the effect of processing.

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Spectrum Analyzer
Displays the magnitude (level) of a signal along the frequency spectrum in real-time. The vertical ruler on the left edge of the module panel measures the amplitude of the signal in decibels (dB). The horizontal ruler along the bottom edge of the module panel measures frequency in Hertz (Hz).
Two spectrum analyzers are displayed in the Dimension module: the input to the Dimension module (displayed in dark grey, with no border) and the output of the Dimension module (displayed in light grey, with a white border).

EQ
Table of Contents
1. Overview 2. Interactions
1. Add Bands 2. Remove Bands 3. Alt-Solo
3. Controls
1. General Band Controls 2. Frequency 3. Gain 4. Bandwidth 5. Filter Types
. Filter Shape 7. Dynamic Processing Modes
. Global Module Controls
4. Meters
1. Spectrum Analyzer 2. Composite Curve 3. Filter Response Curve

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Overview
An equalizer can be used to enhance the tone and character of a vocal track by adjusting the level of speci c frequencies. Nectar includes two EQ modules with support for adding up to 24 highly customizable bands. Each band includes 16 different lter shapes and two program dependent processing modes: Dynamic Frequency mode for dynamically updating the frequency of a lter in response to harmonic frequency content changing over time, and Dynamic Gain mode mode for dynamically adjusting the gain of a lter in response to the input signal.

Interactions
1. Add Bands 2. Remove Bands 3. Alt-Solo
Add Bands
Bands can be added to the EQ using the following methods:
1. Click on the + button that appears when hovering the mouse cursor over the white composite curve line in the EQ display.
1. Single-click to place a new node in the location of the click. 2. Click and drag on the + button to quickly add a node and drag it to a new
position.
2. Double-click anywhere in the EQ spectrum display to add and position a new node in the location of the click.
3. Double-click and drag to quickly position the node in the location of the click, and drag it to a new position.
4. Use Command+Return (Mac) or Control+Return (Windows) to add a new node to the center of the EQ spectrum.
Remove Bands
Bands can be removed from the EQ using the following methods:
1. Select a node and click the x button in the band controls panel to remove it. 2. Click and drag over nodes in the EQ spectrum panel to select multiple nodes. Use
the delete or backspace key to remove all selected nodes. 3. Shift-click to select multiple nodes. Use the delete or backspace key to remove all
selected nodes.

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Alt-Solo
The EQ module includes an Alt-Solo feature that allows frequency bands to be played back in isolation without affecting any EQ settings.
Alt-Solo can be enabled by holding the Alt/option key when clicking anywhere in the EQ spectrum to solo the frequencies surrounding the location of the click.
ALT-SOLO Q The Q (bandwidth) of the Alt-Solo lter can be adjusted in the Options window.
Controls
To access the band controls panel for a given band, click on the corresponding node in the EQ module panel.
The following controls are included in the band controls panel: 1. General Band Controls 2. Frequency 3. Gain 4. Bandwidth 5. Filter Shape . Dynamic Processing Modes
General Band Controls
The left side of the band controls panel includes parameters for enabling/disabling, soloing, and removing the currently selected band.
Enable
Enables or disables processing of the currently selected band.

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NOTE When a band is disabled, the lter will still be displayed in the EQ module panel. Disabled bands are displayed in grey to clearly differentiate them from enabled bands.
Solo
Enables temporary cutoff lters that allow frequencies within the bandwidth of the selected lter to be listened to in isolation.
TIP: SOLO BAND SHORTCUT Hold the Alt and click on an EQ node to quickly engage the band Solo functionality.
Remove
Removes the currently selected band.

Frequency
Determines the center frequency (or cutoff frequency) (Hz) of the currently selected node. The EQ supports frequency values ranging from 20 Hz to 20 kHz.

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TIPS: ADJUSTING EQ FILTER FREQUENCY The Frequency of an EQ band can be modi ed using the following methods:
1. Click and drag an EQ node to the left (to reduce the frequency value) or right (to increase the frequency value).
1. Hold Shift while dragging a node to the left or right to lock the movement of the node to the horizontal axis.
2. Double-click on the Frequency value readout and manually enter a Frequency value in the inline edit eld.
3. Select a node and use the Left arrow key to decrease Frequency or use the Right arrow key to increase Frequency.
1. Hold the Shift modi er key to make coarse value adjustments. 2. Hold the Command (Mac) or Ctrl (Windows) modi er key to make ne
value adjustments.
Gain
Determines the amount of gain (dB) applied by the selected lter. The EQ supports gain adjustments ranging from -30 dB to +15 dB.

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TIPS: ADJUSTING EQ FILTER GAIN When available for adjustment, the Gain of an EQ band can be modi ed using the following methods:
1. Click and drag an EQ node up (to increase gain) or down (to decrease gain).
1. Hold Shift while dragging a node up or down to lock the movement of the node to the vertical axis.
2. Double-click on the Gain value readout and manually enter a Gain value in the inline edit eld.
3. Select a node and use the Up arrow key to increase Gain or use the Down arrow key to decrease Gain.
1. Hold the Shift modi er key to make coarse value adjustments. 2. Hold the Command (Mac) or Ctrl (Windows) modi er key to make ne
value adjustments.
4. Double-click on a node to reset the Gain and Q/Slope to their default values.
EQ GAIN SCALE The vertical dB magnitude scale on the right edge of the EQ module panel measures the EQ lter Gain.
Bandwidth
Determines the width or slope (dB/octave) of the selected lter. Bandwidth is labeled as either Q or Slope in the band controls panel, depending on the selected lter shape.

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TIPS: ADJUSTING EQ FILTER Q/SLOPE The Q/Slope of an EQ band can be adjusted using the following methods:
1. Click and drag the node handles toward the node to decrease the bandwidth. 2. Click and drag the node handles away from the node to increase the
bandwidth. 3. Double-click on the Q/Slope value readout and manually enter a Q/Slope
value in the inline edit eld. 4. Hover the cursor over the node and use the mousewheel to adjust the
Q/Slope value. 5. Select a node and use Alt/Option+Left Arrow Key to decrease the bandwidth
or use Alt/Option+Right Arrow Key to increase the bandwidth.
1. Hold the Shift modi er key to make coarse value adjustments. 2. Hold the Command (Mac) or Ctrl (Windows) modi er key to make ne
value adjustments.
. Double-click on a node to reset the Gain and Q/Slope to their default values.
Filter Types
The EQ module features 16 different lter shapes, each one belonging to one of the following lter type categories:
Pass Filter
Pass type lters are used to attenuate frequency content that is below (in the case of a high pass) or above (in the case of a low pass) a speci ed cutoff frequency. The degree of attenuation applied to content above or below the cutoff is determined by the slope of the lter. The EQ module includes four Pass type lter shapes in the Highpass and Lowpass sub-menus.
Peak Filter
Peak type lters are used to boost or cut the level of a speci c center frequency. The amount of boost or cut applied to frequencies surrounding the center frequency is determined by the Q (or “Bandwidth”) of the lter. The EQ module includes four Peak type lter shapes in the Bell sub-menu.

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Shelf Filter
Shelf type lters are used to boost or cut the frequency content above or below a speci ed frequency by the same amount. The EQ module includes Shelf type lter shapes in the Low Shelf and High Shelf sub-menus.
Filter Shape
Determines the lter shape of the currently selected band. The lter shape dropdown menu organizes the lter shapes into the following submenus: Bell, Low Shelf, High Shelf, Lowpass, and Highpass.
Bell
The Bell sub-menu includes the following Peak type lters:

Filter Shape

Description

Smoothly boosts or cuts an adjustable region

Bell

around a speci c frequency. Looks like a bell,

come on what do you want from me.

Proportional Q

Unique lter that varies shape in proportion to the amount of boost or cut applied. As a cut or boost is increased further away from center of the EQ curve, the shape tightens for more precision.

Vintage

Asymmetrical bell lter that is more narrow when cutting frequencies than when boosting frequencies.

Band Shelf

Bell lter with wide, at top. Useful for boosting or attenuating a block of frequencies.

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Low Shelf
The Low Shelf sub-menu includes the following Shelf type lters:

Filter Shape

Description

Analog

E cient shelf lter for simple boosts and cuts.

Resonant

Exhibits a complimentary resonance at both ends of the lter slope creating a complex shape with one node.

Vintage

Modeled after the renowned Pultec analog equalizer. Exhibits a complimentary frequency dip, creating a complex slope with one node.

Baxandall Bass

Gentle low frequency shelf. Modeled after the Baxandall EQ, with the addition of freely adjustable frequency.

High Shelf
The High Shelf sub-menu includes the following Shelf type lters:

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Filter Shape

Description

Analog
Resonant
Vintage Baxandall Treble

E cient shelf lter for simple boosts and cuts.
Exhibits a complimentary resonance at both ends of the lter slope creating a complex shape with one node.
Modeled after the renowned Pultec analog equalizer. Exhibits a complimentary frequency dip, creating a complex slope with one node.
Gentle high frequency shelf. Modeled after the Baxandall EQ, with the addition of freely adjustable frequency.

Highpass
The Highpass sub-menu includes the following Pass type lters:

Filter Shape

Description

Flat Resonant

Butterworth lter; optimized for maximum atness without ripple or resonance in the
passband or stopband.
Filter equipped with a resonance control to emphasize the cutoff frequency with positive gain.

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Lowpass
The Lowpass sub-menu includes the following Pass type lters:

Filter Shape

Description

Flat Resonant

Butterworth lter; optimized for maximum atness without ripple or resonance in the
passband or stopband.
Filter equipped with a resonance control to emphasize the cutoff frequency with positive gain.

Dynamic Processing Modes
The dynamic processing modes can be accessed by selecting a node and clicking the arrow button on the right hand side of the band controls panel.
Dynamic gain or frequency processing can be enabled by clicking the Gain or Frequency buttons in the dynamic controls panel. Only one dynamic processing mode can be selected at a time for a selected band (i.e. Gain and Frequency mode cannot be enabled simultaneously for a selected band).
Gain Mode
Enables the ability to dynamically update the Gain of the selected EQ band when a signal exceeds the threshold level.
Clicking the “Gain” button in the EQ node controls panel will enable Dynamic Gain Mode for the selected node.

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NOTE: DYNAMIC GAIN MODE AVAILABILITY Dynamic Gain Mode is not available for Lowpass and Highpass lter shapes.
Boost or Cut Mode
When Gain mode is enabled, small triangle icons will appear directly above and below the associated EQ node. These icons indicate the expected direction of the dynamic gain change. Clicking on either triangle icon will determine the direction of gain change.
1. BOOST: Selecting the upward facing triangle will increase the gain of the lter when signals exceed the threshold level.
1. When the EQ node is placed above the zero line, the lter will be set to 0 dB of gain until it is triggered. When it is triggered by incoming signals exceeding the threshold, the gain of the lter will be increased in the direction of the node.
2. When the EQ node is placed below the zero line, the gain of the lter will be increased toward the zero line when it is triggered by incoming signals exceeding the threshold.
2. CUT: Selecting the downward facing triangle will decrease the gain of the lter when signals exceed the threshold level.
1. When the EQ node is placed above the zero line, the gain of the lter will be reduced toward the zero line when triggered.
2. When the EQ node is placed below the zero line, the lter will be set to 0 dB of gain until it is triggered. When it is triggered by incoming signals exceeding the threshold, the gain of the lter will be reduced in the direction of the node.
Threshold
Determines the signal level at which dynamic gain adjustments will be triggered for the selected EQ node.
TIP: USING DYNAMIC EQ TO REDUCE SIBILANCE A dynamic EQ node can be used as an alternative to the De-esser module when attempting to reduce sibilant frequency content.

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Frequency Mode
Enables the ability to dynamically update the Frequency of the selected EQ band to follow harmonics as they change.
Frequency mode works by identifying the fundamental frequency of the input signal when Frequency mode is enabled for an EQ band. It then identi es the harmonic frequency that is closest to the frequency of the selected EQ band. When the fundamental of the incoming vocal changes over time, the frequency of the EQ band will dynamically update to follow that harmonic as it changes with the fundamental. When Frequency mode is enabled and the frequency of the EQ band is manually adjusted, the EQ band will update to track the harmonic closest to the new frequency value.
TIPS: WHEN TO USE DYNAMIC FREQUENCY MODE
1. Use a Highpass lter with Dynamic Frequency Mode enabled to track the rst harmonic of a vocal. This will dynamically cut out unwanted low end rumble while maintaining the character of the vocal.
2. Use multiple EQ bands with Dynamic Frequency Mode enabled to change the character of a vocal by following harmonics over time without the need for automation.
3. Use a Bell lter with Dynamic Frequency Mode enabled to follow and cut harsh vocal resonances.
Vocal Register
The Frequency mode is connected to the Vocal Register to track the input signal and apply the dynamic frequency mode. You can change the Vocal Register by accessing it in the Pitch Module Mini Module if you’re not getting the results you need.
Additionally, the EQ component plugin will toggle the Vocal Register in the component plugin’s header when Frequency mode is activated by the plugin. This will be available only when this mode is active.
Global Module Controls
The module chain features common controls for each module, including: Bypass, Solo, Remove, Reorder, and Wet/Dry Mix.

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GLOBAL CONTROLS CHAPTER To learn more about the module chain and other global controls in Nectar, visit the Global Controls chapter.
Meters
The following meters and displays are included in the EQ: Spectrum Analyzer, Composite Curve, and the Filter Response Curve.
Spectrum Analyzer
Displays the magnitude (amplitude, in decibels) of the input signal across the frequency spectrum in real-time. Two spectrum analyzers are displayed in the EQ module to compare the effect of processing. The input signal to the EQ module is shown as a dark grey spectrum with no border. The processed output spectrum is drawn in the foreground with a white border.
EQ Spectrum Rulers
1. The vertical ruler on the left side of the EQ module panel measures the amplitude of the spectrum.
2. The vertical ruler on the right side of the EQ module panel measures the gain of the EQ nodes.
3. The horizontal ruler along the bottom of the EQ module panel measures the frequency.
Composite Curve
The composite curve is the thick white line drawn across the EQ module panel. When EQ lters are added and modi ed they contribute to the overall shape of the composite curve. This curve represents the combined lter response of all enabled bands.
Filter Response Curve
The semi-transparent yellow ll color represents the lter response of a single band in isolation. This curve will be hidden by the white composite curve in cases where the selected lter shape is not affected by other enabled lters.

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Gate
Table of Contents
1. Overview 2. Controls
1. Threshold 2. Ratio 3. Attack 4. Release 5. Global Module Controls
3. Meters
1. Waveform Displays 2. Gain Reduction Meter
Overview
A gate can be used to attenuate undesirable signal content in the breaks between phrases of a vocal track. The Gate module provides an e cient and exible alternative to manually editing or inserting silence between vocal phrases. The Gate includes controls for adjusting how and when processing is applied to the input, as well as robust metering to assist with determining the best control values and visualizing the effect of processing.

Controls
The controls in the Gate module work together to in uence how the gate responds to the incoming signal. The following controls are available in the Gate:
1. Open and Close Threshold 2. Ratio 3. Attack 4. Release
Threshold
The Gate module features two threshold controls: the Open Threshold and Close Threshold.

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Open Threshold
Determines the level above which the gate will open, allowing the signal to pass through. When the input signal falls above the Open threshold level, attenuation will stop.

Close Threshold
Determines the level at which the gate will close. When the input signal falls below the close threshold, it will be attenuated. Move the close threshold down in order to pass more of the decay without affecting the trigger threshold. In some situations, undesirable signals that are near the level of the open threshold can cause the gate to “chatter” by crossing the threshold level too often. The Close threshold (also referred to as hysteresis) can be set a few dB below the Open threshold to help eliminate this chattering effect.
When a signal has dropped below the Close threshold, it will not trigger the gate to open again until it exceeds the level of the Open threshold.
Ratio
Determines the amount of gain reduction applied to signals that fall below the Close threshold.
Attack
Determines the amount of time (in milliseconds) it takes for the gate to transition from closed to open when a signal exceeds the Open threshold.
Release
Determines the amount of time (in milliseconds) it takes to transition from open to closed when a signal falls below the Close threshold.

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Global Module Controls
The module chain features common controls for each module, including: Bypass, Solo, Remove, Reorder, and Wet/Dry Mix.

GLOBAL CONTROLS CHAPTER To learn more about the module chain and other global controls in Nectar, visit the Global Controls chapter.
Meters
The Gate module features scrolling waveform displays and a gain reduction meter for monitoring the difference between the processed and unprocessed signals.
Waveform Displays
The scrolling waveform meters display the amplitude of the input (ungated) and output (gated) signals over time. The meters scroll from right to left, with the most recent information on the right.
The processed output signal waveform is displayed in light grey, in front of the input signal waveform. The unprocessed input signal waveform is displayed in dark grey, behind the output signal waveform. When the signal is being gated, the gain reduction applied to the output signal can be observed in the difference between the two waveforms.
Gain Reduction Meter
Displays the current average amount of gain reduction in decibels (dB) applied to the signal.

Reverb

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Table of Contents
1. Overview 2. Controls
1. Pre-Delay 2. Decay 3. Width 4. Saturation 5. Post Filter
. Global Module Controls 3. Meters
1. Spectrum Analyzer
Overview
Reverb can be used to add space and character to a vocal. The Nectar Reverb module is modeled after the classic EMT 140ST Stereo Plate Reverb with added controls for adjusting Pre-delay and Width not included in the EMT 140ST hardware unit.
Controls
The Reverb module controls panel includes parameters for customizing the timing, width, and character of the reverb.
Pre-Delay
Determines the amount of time the processed (wet) signal is delayed from the output.
The Pre-Delay control ranges from 0ms (milliseconds) to 200ms (milliseconds).
NOTE The EMT 140ST did not include a Pre-Delay control, it is included in the Nectar Reverb module for added control of the plate reverb sound. Pre-Delay is helpful for better clarity and separation between the wet and dry vocal signals.

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Decay
Determines the amount of time it takes for re ections to dissipate.
The Decay control ranges from 1.00s (seconds) to 5.00s (seconds).
NOTE The Reverb module’s Decay time is not constant across all frequencies.
Width
Determines the amount of stereo widening applied to the output of the Reverb.
The Width control ranges from 0% (no stereo widening) to 100%.
Saturation
Determines the amount of subtle harmonic distortion added to the wet (processed) signal.
The Saturation control ranges from 0% (no saturation) to 100%.
Post Filter
The Reverb module features three customizable post lters. The Highpass and Lowpass lters can be used to reduce undesirable low frequency rumble or harsh high frequency content in the wet (processed) signal. The Bell lter can be used to add a creative or utilitarian boost or cut to the wet (processed) signal.

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POST FILTER
1. The lters in the Reverb module are only applied to the wet (processed) output signal.
2. Frequency Adjustments: Click and drag a lter node left and right to adjust frequency.
3. Gain Adjustments: Click and drag a lter node up and down to adjust gain.
1. The vertical ruler on the right side of the Reverb module panel display measures the gain of the Bell lter.
4. Q (Bandwidth) Adjustments: Select a lter node and drag the handles that appear towards the node (narrow Q) or away from the node (wide Q).
NOTE: Gain and Q can only be adjusted for the Bell lter. The Highpass and Lowpass lters have xed slope values.
Global Module Controls
The module chain features common controls for each module, including: Bypass, Solo, Remove, Reorder, and Mix.
GLOBAL CONTROLS CHAPTER To learn more about module chain and other global controls in Nectar, visit the Global Controls chapter.
Meters
The Reverb module features two spectrum analyzers for monitoring the effect of processing.
Spectrum Analyzer
Displays the magnitude (level, in dB) of a signal across the frequency spectrum in realtime. The vertical ruler on the left edge of the module panel measures the amplitude of the signal in decibels (dB). The horizontal ruler along the bottom edge of the module panel measures frequency in Hertz (Hz). The vertical ruler on the right edge of the module panel measures post- lter node gain (dB).

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Two spectrum analyzers are displayed in the Reverb module: the input to the Reverb module (displayed in dark grey) and the output of the Reverb module (displayed in light grey).
Saturation
Table of Contents
1. Overview 2. Controls
1. Mode 2. Amount 3. Post Filter 4. Global Module Controls 3. Meters 1. Spectrum Analyzer 2. Harmonic Highlights
Overview
Saturation can be used to add subtle warmth or intense distortion to a vocal track. The Saturation module features seven different modes for accentuating harmonics and adding unique color and character to a vocal.
Controls
The following parameters are available in the Saturation module panel: 1. Mode 2. Amount 3. Post Filter

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Mode
Determines the type of saturation applied to the signal.
The following table outlines the sonic characteristics of the different saturation modes.

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Mode Analog

Characteristics
Mild, gritty distortion. Transistor type emulation with emphasis on odd harmonics.

Retro

Sharp, aggressive distortion. Based on a row of odd harmonics that are characteristic of transistors.

Tape

Classic, analog tape saturation. Emphasizes odd harmonics but with a shorter harmonic slope than that of a transistor-type saturation.

Tube

Rich, tonal excitation. Emulates tube saturation with a mix of odd and even harmonics.

Warm

Subtle, harmonic warmth. Generates even harmonics with a steep slope.

Decimate
Unique, digital decimation. Reduces sample rate to introduce distortion artifacts introduced by aliasing.

Distort Aggressive, dirty saturation.

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Amount
Determines the amount of drive applied to the selected saturation mode.
Post Filter
Allows for the reduction of undesirable high frequency content in the processed signal.

POST FILTER NOTES
1. The high shelf lter in the Saturation module is only applied to the wet (processed) output of the module.
2. Click and drag the lter node up and down to adjust gain. 3. Click and drag the lter node left and right to adjust frequency.
Global Module Controls
The module chain features common controls for each module, including Bypass, Solo, Remove, Reorder, and Wet/Dry Mix.

GLOBAL CONTROLS CHAPTER To learn more about the module chain and other global controls in Nectar, visit the Global Controls chapter.
Meters
The Saturation module features two spectrum analyzers and a harmonic highlight display for monitoring the effect of processing.
Spectrum Analyzer
Displays the magnitude (level) of a signal across the frequency spectrum in real-time. The vertical ruler on the left edge of the module panel measures the amplitude of the signal in decibels (dB). The horizontal ruler along the bottom edge of the module panel measures frequency in Hertz (Hz).

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Two spectrum analyzers are displayed in the Saturation module: the input to the Saturation module (displayed in dark grey) and the output of the Saturation module (displayed in light grey).
Harmonic Highlights
The harmonic content that is generated and added by the Saturation module is represented by the yellow ll color that appears when playing back audio.
Presets
Table of Contents
1. Overview 2. Modify Custom Preset Names and Comments 3. Presets Window Controls 4. Preset Locations
Overview
Choose from a wide variety of factory presets and save your own custom vocal processing chains in the Nectar Presets window. You can open the preset manager by clicking the button labeled Presets in the header area of Nectar.
TIP You can quickly cycle through presets in the preset list by clicking the previous or next buttons to the right of the Presets button.
You can load, save, and manage presets in the Nectar Presets window. You can load the settings associated with a preset by selecting it from the list. The Presets window is divided into two tabs:
1. iZotope: lists all factory presets installed with Nectar 4. 2. Custom: lists all custom presets you have saved or modi ed in Nectar 4.

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There are two global options that appear in the iZotope and Custom tabs at the top of the preset list:
1. Working Settings: Loads your most recent changes that are not otherwise associated with a preset.
2. Default: Loads the factory default settings.
DIRTY STATE INDICATOR When you make changes to a preset an asterisk (*) will be shown at the beginning of the preset name to indicate that it has been modi ed. You can add a new preset to save your settings or update the preset to dismiss the dirty state indicator.
Modify Custom Preset Names and Comments
You can modify preset le/folder names and preset comments when the Custom tab is selected.
1. Edit custom preset name: Single-click twice on a preset name in the Custom tab to open an inline edit eld. Press return to dismiss the inline edit eld and save your changes.
2. Edit custom preset comment: The area below the preset list displays descriptive text about the currently selected preset. Single-click the comment text box to open an inline edit eld, press return to save changes to the comment.
Presets Window Controls
The following buttons are located in the footer of the Presets window:
1. Deletes the currently selected custom preset or preset folder. 2. Update: Saves changes to a modi ed custom preset. 3. Folder: Adds a new custom preset folder. 4. New: Creates a new preset based on the current settings. 5. Close: Dismiss the Presets window. Note: Double-clicking on a preset or preset
folder will also close the Presets window.
ORGANIZE CUSTOM PRESETS In the Custom tab, you can click and drag presets or folders over other folders in the list to move them into that folder.

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Preset Locations
Factory presets are installed to the following locations:
1. Windows: C:Program FilesiZotopeNectar ProPresets 2. Mac: /Library/Application Support/iZotope/Nectar
Pro/Presets/
Custom presets are saved to the following locations:
1. Windows: C:UsersUsernameiZotopeNectar ProPresets 2. Mac: /Users/Username/Documents/iZotope/Nectar Pro/Presets/
Options
Table of Contents
1. Overview
1. General 2. EQ 3. Pitch and Voices 4. Licenses
2. Apply Changes 3. Reset
Overview
The Options window includes parameters for managing authorization, updates, and module speci c controls. The Options window can be opened by clicking on the gear button in the upper right corner of the Nectar interface.
The following categories are available in the Options window:
1. General 2. EQ 3. Pitch & Voices 4. Licenses

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General
1. Show tooltips: Enables or disables the tooltip display text. 2. Send anonymous usage data: Enables sending anonymous usage data to
iZotope to help improve Nectar.
EQ
Alt Solo Q: Sets the default bandwidth of the Alt-Solo Feature. The default is 5.02.
EQ: ALT-SOLO See the EQ chapter for more information about the Alt-Solo feature.
Pitch and Voices
Calibration (A): sets the audio frequency reference to calibrate the Vocal Register and Scale in the Pitch Module. The default is 440 Hz.
Licenses
This section allows you to view your current license status, manage your license, and access more information about licensing the product.
ADDITIONAL HELP WITH LICENSING AND INSTALLATION For additional information about licensing, authorization and installation, see the Install and auth help section of our Support Portal.
Apply Changes
To apply changes and close the Options window, click anywhere within the Nectar interface and outside of the Options window.
Any changes made to the Options window will be applied once the window is closed. You cannot cancel changes made, but you can reset to the factory default.
Reset
Press the Reset Button in the lower left-hand corner of the Global Options Window to reset any changes made within the Global Options window to the default setting.

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TIP
The Reset button in the Options window will reset the plug-in window size to the factory default window size.
License Information
Table of Contents
1. Anti-Grain Geometry 2. base64 3. Better Enums 4. Bravura 5. C++ Rest SDK
. Eigen 7. FLAC
. FreeType 9. GLEW 10. gsl 11. IcoMoon 12. Intel® Integrated Performance Primitives (Intel® IPP) 13. JsonCpp 14. LibXML2 15. Material Docs Theme 1 . NLohmann JSON 17. Netlib numeralgo na10 Aberth’s method 1 . OGG / Vorbis 19. readerwriterqueue 20. Roboto font family 21. Skia 22. TagLib 23. TinyXML 24. Tipue Search 25. vectorize 2 . xsimd 27. Yoga 2 . ZeroMQ 29. zlib
Anti-Grain Geometry
Version 2.4
Copyright (c) 2002-2005 Maxim Shemanarev (McSeem).

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Redistribution and use in source and binary forms, with or without modi cation, are permitted provided that the following conditions are met:
1. Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer.
2. Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution.
3. The name of the author may not be used to endorse or promote products derived from this software without speci c prior written permission.
THIS SOFTWARE IS PROVIDED BY THE AUTHOR “AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE AUTHOR BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.
base64
v0.4.0
Copyright (c) 2005-2007, Nick Galbreath Copyright (c) 2013-2019, Alfred Klomp Copyright (c) 2015-2017, Wojciech Mula Copyright (c) 2016-2017, Matthieu Darbois All rights reserved.
Redistribution and use in source and binary forms, with or without modi cation, are permitted provided that the following conditions are met:
1. Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer.
2. Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution.
THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS “AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT HOLDER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT

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LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.
Better Enums
Version 0.11.1
Copyright (c) 2012-2016, Anton Bachin. All rights reserved.
Redistribution and use in source and binary forms, with or without modi cation, are permitted provided that the following conditions are met:
1. Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer.
2. Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution.
THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS “AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT HOLDER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.
Bravura
Copyright © 2015, Steinberg Media Technologies GmbH http://www.steinberg.net/, with Reserved Font Name “Bravura”.
This Font Software is licensed under the SIL Open Font License, Version 1.1. This license is copied below, and is also available with a FAQ at: http://scripts.sil.org/OFL
SIL OPEN FONT LICENSE Version 1.1 – 26 February 2007
PREAMBLE The goals of the Open Font License (OFL) are to stimulate worldwide development of collaborative font projects, to support the font creation efforts of academic and

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linguistic communities, and to provide a free and open framework in which fonts may be shared and improved in partnership with others.
The OFL allows the licensed fonts to be used, studied, modi ed and redistributed freely as long as they are not sold by themselves. The fonts, including any derivative works, can be bundled, embedded, redistributed and/or sold with any software provided that any reserved names are not used by derivative works. The fonts and derivatives, however, cannot be released under any other type of license. The requirement for fonts to remain under this license does not apply to any document created using the fonts or their derivatives.
DEFINITIONS “Font Software” refers to the set of les released by the Copyright Holder(s) under this license and clearly marked as such. This may include source les, build scripts and documentation.
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2. Original or Modi ed Versions of the Font Software may be bundled, redistributed and/or sold with any software, provided that each copy contains the above copyright notice and this license. These can be included either as stand-alone text les, human-readable headers or in the appropriate machine- readable metadata elds within text or binary les as long as those elds can be easily viewed by the user.
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Holder. This restriction only applies to the primary font name as presented to the users.
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5. The Font Software, modi ed or unmodi ed, in part or in whole, must be distributed entirely under this license, and must not be distributed under any other license. The requirement for fonts to remain under this license does not apply to any document created using the Font Software.
TERMINATION This license becomes null and void if any of the above conditions are not met.
DISCLAIMER THE FONT SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT OF COPYRIGHT, PATENT, TRADEMARK, OR OTHER RIGHT. IN NO EVENT SHALL THE COPYRIGHT HOLDER BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, INCLUDING ANY GENERAL, SPECIAL, INDIRECT, INCIDENTAL, OR CONSEQUENTIAL DAMAGES, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF THE USE OR INABILITY TO USE THE FONT SOFTWARE OR FROM OTHER DEALINGS IN THE FONT SOFTWARE.
C++ Rest SDK
Version 2.10.15
Main Library:
Copyright (c) 2014, Peter Thorson. All rights reserved.
Redistribution and use in source and binary forms, with or without modi cation, are permitted provided that the following conditions are met:
1. Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer.
2. Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution.
3. Neither the name of the WebSocket++ Project nor the names of its contributors may be used to endorse or promote products derived from this software without speci c prior written permission.

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THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS “AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL PETER THORSON BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.
Bundled Libraries:
** Base 64 Library (base64/base64.hpp) ** base64.hpp is a repackaging of the base64.cpp and base64.h les into a single header suitable for use as a header only library. This conversion was done by Peter Thorson (webmaster@zaphoyd.com) in 2012. All modi cations to the code are redistributed under the same license as the original, which is listed below.
base64.cpp and base64.h
Copyright (C) 2004-2008 René Nyffenegger
This source code is provided `as-is’, without any express or implied warranty. In no event will the author be held liable for any damages arising from the use of this software.
Permission is granted to anyone to use this software for any purpose, including commercial applications, and to alter it and redistribute it freely, subject to the following restrictions:
1. The origin of this source code must not be misrepresented; you must not claim that you wrote the original source code. If you use this source code in a product, an acknowledgment in the product documentation would be appreciated but is not required.
2. Altered source versions must be plainly marked as such, and must not be misrepresented as being the original source code.
3. This notice may not be removed or altered from any source distribution.
René Nyffenegger rene.nyffenegger@adp-gmbh.ch
** SHA1 Library (sha1/sha1.hpp) **
sha1.hpp is a repackaging of the sha1.cpp and sha1.h les from the shallsha1 library (http://code.google.com/p/smallsha1/) into a single header suitable for use as a header only library. This conversion was done by Peter Thorson

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(webmaster@zaphoyd.com) in 2013. All modi cations to the code are redistributed under the same license as the original, which is listed below.
Copyright (c) 2011, Micael Hildenborg All rights reserved.
Redistribution and use in source and binary forms, with or without modi cation, are permitted provided that the following conditions are met:
1. Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer.
2. Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution.
3. Neither the name of Micael Hildenborg nor the names of its contributors may be used to endorse or promote products derived from this software without speci c prior written permission.
THIS SOFTWARE IS PROVIDED BY Micael Hildenborg “AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL Micael Hildenborg BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.
** MD5 Library (common/md5.hpp) ** md5.hpp is a reformulation of the md5.h and md5.c code from http://www.opensource.apple.com/source/cups/cups-59/cups/md5.c to allow it to function as a component of a header only library. This conversion was done by Peter Thorson (webmaster@zaphoyd.com) in 2012 for the WebSocket++ project. The changes are released under the same license as the original (listed below)
Copyright (C) 1999, 2002 Aladdin Enterprises. All rights reserved.
This software is provided `as-is’, without any express or implied warranty. In no event will the authors be held liable for any damages arising from the use of this software.
Permission is granted to anyone to use this software for any purpose, including commercial applications, and to alter it and redistribute it freely, subject to the following restrictions:
1. The origin of this software must not be misrepresented; you must not claim that you wrote the original software. If you use this software in a product, an

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acknowledgment in the product documentation would be appreciated but is not required. 2. Altered source versions must be plainly marked as such, and must not be misrepresented as being the original software. 3. This notice may not be removed or altered from any source distribution.
L. Peter Deutsch ghost@aladdin.com
** UTF8 Validation logic (utf8_validation.hpp) ** utf8_validation.hpp is adapted from code originally written by Bjoern Hoehrmann bjoern@hoehrmann.de. See http://bjoern.hoehrmann.de/utf-8/decoder/dfa/ for details.
The original license:
Copyright (c) 2008-2009 Bjoern Hoehrmann bjoern@hoehrmann.de
Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation les (the “Software”), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions:
The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software.
THE SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.
Eigen
Version 3.4.99
Distributed under the Mozilla Public License v2.0 (MPLv2.0).
Full text of the license is available here: https://www.mozilla.org/en- US/MPL/2.0/
To receive a copy of the source code for the Eigen library distributed with this product under the under the terms of the MPLv2.0 please contact dev- support@izotope.com.

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FLAC
libFLAC and libFLAC++
Version 1.3.2
Copyright (c) 2000-2009 Josh Coalson
Copyright (c) 2011-2016 Xiph.Org Foundation
Redistribution and use in source and binary forms, with or without modi cation, are permitted provided that the following conditions are met:
1. Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer.
2. Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution.
3. Neither the name of the Xiph.org Foundation nor the names of its contributors may be used to endorse or promote products derived from this software without speci c prior written permission.
THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS “AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE FOUNDATION OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.
FreeType
Version 2.4.6
Portions of this software are copyright © 2011 The FreeType Project (www.freetype.org). All rights reserved.

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GLEW
The OpenGL Extension Wrangler Library Copyright (C) 2002-2008, Milan Ikits <milan ikits[]ieee org> Copyright (C) 2002-2008, Marcelo E. Magallon <mmagallo[]debian org> Copyright (C) 2002, Lev Povalahev All rights reserved.
Redistribution and use in source and binary forms, with or without modi cation, are permitted provided that the following conditions are met:
1. Redistributions of source code must retain the above copy

References

• Flexible and Economical UTF-8 Decoder
• CC BY 4.0 Deed | Attribution 4.0 International | Creative Commons
• GmbH in der Schweiz gründen. Einfach. Online.
• SIL Open Font License
• Home
• Apache License, Version 2.0
• The FreeType Project
• www.grinninglizard.com
• opensource.apple.com/source/cups/cups-59/cups/md5.c
• Creativity First — Our Passion for Music Inspires | Steinberg
• Global Controls - Nectar 4 Help
• Nectar 4 Help Documentation - Nectar 4 Help
• The FreeType Project
• gnu.org/licenses/lgpl-3.0.txt
• www.grinninglizard.com
• Mozilla Public License version 1.1
• Mozilla Public License, version 2.0

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