Cubase 6 Pitch Correct VS Izotope Nectar - anyone?

Has anyone used Izotope Nextar in Cubase 6? I have only just started using Cubase pitch correct (previously used melodyne) but have always been curious about Izotope Nectar. I have some of Izotope’s other plugins and simply love them. I am curious to hear from people who have used both Cubase pitch correct and Nectar to compare features and sound. Thanks.

I personally enjoy Izotope’s products, but Nectar did not impress me very much. Vari-audio is really good and its free with the DAW, so purchasing Nectar for pitch correction would not be a very smart decision (the automatic pitch correction in Nectar is not very good either). Nectar is a decent vocal chain but again because of the insert effects already in C6 there isn’t anything unique Nectar can do, that C6 cant already do if not better. Izotopes has a free Nectar demo, try it out and post back to let us all know what you think of Nectar :wink:

Let me say that I am now a HUGE fan of the VariAudio Pitch correction in C6.

I have used it on quite a few different tracks (live and studio) and it works REALLY well. Great for fixing timing issues as well. Sounds very human on everything I threw at it.

I also have Nectar and am enjoying that for different reasons. The saturation section is AWESOME for warming up vocals. Pitch correction is not as good as C6 IMHO.

Does anyone find Cubase’s pitch correction to be a memory hog? I tried to record a track with it but the latency was so bad I couldn’t do it. Fred

Haven’t used the plugin yet but the VariAudio is pretty great.

If you go and see the plug-in information in C6, you’ll find that the Pitch Correct plug-in has a delay/latency of about 1000 samples.

It’s a shame that it cant be used for live tracking however, I do find the plug-in to be immensely useful.

Autotune only produced a 32 sample latency (at least in 2004, that is).

I used Autotune to create stereo guitars in real time by sending the original to left, and also sending it to an FX channel with AT detuned by a few cents, with default attack, and outputting that to right. It gives a very tight (like sounding as if played together, and not one a delay of the other) stereo effect without any phasing problems when in mono.