The Frequency mode, though, is something new that allows you to create a boost or cut and have it track the pitch of the nearest moving harmonic peak.Īlthough it doesn’t offer the finer levels of control available in Sound Radix’s pitch-tracking SurferEQ, this is an incredibly useful feature to help craft a consistent vocal sound, without the need for automation. We’ve seen the Dynamic EQ in both Neutron and Ozone before, and it can be very useful for transparently taming wayward peaks while leaving the quieter parts untouched. One of the best new updates is the highly versatile EQ module, now with up to 24 bands, 16 shapes, band solo, and Dynamic Gain and Dynamic Frequency modes. This isn’t a major issue, but it can be useful to set the spectrum time to Infinite so that you can carefully hone in on certain frequencies, and that isn’t possible here. Our only minor gripe is that where Neutron and Ozone offer the ability to fine-tune the metering, Nectar’s settings are almost non-existent. This could be a piano or guitar part, or perhaps a whole buss that contains all of your midrange instruments. For this, you’ll need to place a second instance of Nectar 3 (or of Neutron or Relay) on another track that may have clashing frequency content. So in some respects, this is a better use of the AI Assistant, as nine times out of 10, the vocal will want to be the most prominent track in the mix.īut wait! The Assistant isn’t finished… There’s also an Unmask feature that can be run in parallel to the Assist function. One of the issues we had when using Neutron’s Assistant on multiple tracks was that it made everything too bright. In particular, the overall Character EQ and Dynamics control helps lift the top end of the vocal in an effective and tasteful manner. After selecting from Vintage, Modern or Dialogue modes, and whether you want Light, Moderate or Aggressive intensity, the plug-in listens to your audio and spits out a custom-made preset including character EQ, level balancing, compression, subtractive EQ, de-essing and pitch correction (if required) and finally reverb.Īs with Neutron and Ozone, this is just a starting point, and you’ll want to make adjustments to taste, but the results are pretty decent.
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The amber nectarĪs expected, Nectar 3 includes iZotope’s AI learning technology, this time in the form of Vocal Assistant. Phew! If you dig a little deeper, though, it’s clear to see that this is a substantial new release with some impressive tricks up its sleeve. On the surface, many of the modules remain the same and include two compressors with four algorithms two EQs a de-esser a gate a stereo delay with five saturation modes a Dimension module (chorus, phaser and flanger effects) real-time pitch correction a Harmony module a smooth plate reverb and a limiter. IZotope has updated its Nectar vocal-production suite to version 3, with a tasty new GUI and intelligent mixing features that bring it in line with Neutron and Ozone.
#Izotope trash 2 vs fabfilter saturn pro
Minimum system: OS X 10.8.5 Pro Tools 10 only.Comes with Melodyne Essential (worth €99).2 compressors, Limiter, 2 EQs, Gate, Saturation, De-esser.AI Vocal Assistant, Unmask and Auto Level mode.I agree with most here, if i were to pick one, FabFilter SATURN.Price £249 Contact iZotope Nectar 3 key features: UAD ATR 102 is one of the sweetest tape saturator imho, amazing on busses.ītw, you will have better results by using many subtle stages with different colors and processes vs extreme values with one plugin. Satin is doing some miracles with the low mids, it brings some warmness, I know it's on Tchad Blake mix bus. As I mentioned in another post True Iron got great feedbacks you should give it a try, but it's the one knob preamp approach, with 2 colors. Kush Omega 458A does the job sometimes (beef the sound), but has no control except parallel volume.
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The Culture Vulture (it's UAD) got a nice color as well.
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Saturn is less beefy but can do subtle job.
#Izotope trash 2 vs fabfilter saturn driver
Trash2 is very efficient to resurrect dull sounds too: Use Distort->Blues Driver for the highs, and Saturation-> Tape Saturation for the low and mids, the both with parallel processing (play with the mix knob and the drive, solo your bands will help you to set them). I saw many engineers using it (ie: Alan Meyerson). It's often my 1st try for adding harmonics and cut through the mix. If I had to just pick one, I would go for Decapitator.