I know, off topic and probably fan-boy.... Try Reaper. Completely uncrippled free eval, a very vibrant and helpful forum community (much like this one), and a business model rivaled only by Acustica. Do a little Googling on Justin Frankel, the Reaper originator. very interesting story, very cool guy. I need to pass on to you that after years of all analog audio experience, my first attempt at digital audio left me craving a roomful of analog gear and 2inch tape. Reaper and Nebula are responsible for me even wanting to give digital audio a shot, and I am so glad that I did. I have many years of performing and session experience, studied jazz and classical, blah blah. But I never took any audio engineering classes. But now I can track, mix and create like "the big guys", and am even eeking out a living doing specialty audio stuff. Reaper is so customizable and inexpensive. Super powerful too, more and more DAW refugees are showing up in the Reaper camp. PM me if you have any questions.
I can only second what Richie says, Reaper is superb. The VALUE you get is unrivalled, and the community support is fantastic. I switched from Cubase and never looked back.
indelible wrote:Because I use Reason 6 for mixing my tracks and there is no vst/au support
At risk of sounding like a DAW fan-boy, have you thought about looking into a different DAW that can fulfill all or at least more of your needs? Like Reaper? Free uncrippled evaluation, incredibly helpful forum community, unbelievable depth, power, and customizable DAW. And very very inexpensive. Or any other DAW, just some way to eliminate some of your "middle-man" processes to get your work done more efficiently and enjoyably. If you are determined to keep your current set-up, then rendering the fx in whatever VST compatible DAW you have is still the best way to use more Nebula instances. So I'm not sure what it is you are asking. Bounce the tracks with FX in your VST compatible host and move them to Reason.
I'm trying Reaper just right now and it's an awesome software but in Reason i know my tools.Propellerhead will announce something new on march 20th so i'll wait and then decide what to do
I can say the same about it. I jumped to Reaper from Cubase cos one day Nebula didn't charge in Cubase for anymore, it was a disaster, I tried Reaper and everything is much much much better... So many options and so easy. I even don´t remember Cubase(and I was indeed a serious supporter of Cubase).
Coming back again to this thread, I use tape and console in the way of real hardware, at least what I find usual:
- recorded tracks(recorded before) go first to input console or preamp - eq(better if it´s the same console eq, if emulation is the goal) - fx's (if you need it) - compress/limit and go to tape
If you want to emulate "a few mics to one tape track" you can do the same steps as before for every track(except tape) and send these tracks to the same channel and put the tape there. In 50s/60s they used to send all(2 or 3)the mics of the drums to one track of the tape, sometimes with the bass included, so this track was a little mix.
This is what I like to do for emulate the tracking step.(The real tracking was before, just recording tracks, because I don´t own any console or high end preamps)
Next thing is mixing. At this moment is like you had the tracks in the tape(passed through it) and now you have to send them to the console for mixing, so you would like to put a preamp or console input for every taped track. This way you´d have the tape tracks fedding the console, and now you can eq/fx'ing every track and doing the mix. If you want to group some tracks into one you can send them to a single channel and put a buss console input on it(this is the more realistic buss preset use I find). When you have the mix finished you can send it to a 2 track tape (putting a comp/lim before, if you keep the emulation way).
This is just what I think about it, maybe not the best or maybe I´m wrong thinking that this is very close to analog vintage way of working. I´d thank you anyway if you (the guys who know well ) tell how do you do or how do you find this way.
I wonder, if there is a sonic difference between putting a console input/tape etc. on every channel vs. on the master bus, lol. Would the individual signals get the same amount of harmonics when processed together vs. individually or does the increased volume on the bus create high amounts of harmonic content to all signals?
- Ah, i get it... Let's imagine a low volume signal and high volume signal played at the same time. Individually processed the low volume signal would get a low amount of harmonics while the high volume signal gets a lot. When processed together, the high volume signal triggers a lot of harmonics and thus the low volume signal gets the same amount of harmonics, as long as they're played at the same time. Ok, i get it now. I was thinking out loud, hope it helps...
+1 more for Reaper. Love it. Switched off of Cubase a bit over a year ago and haven't looked back once. Every now and then, I have to export a project from the old software and it's like going back in time, like powering up your old Windows 95 machine to retrieve some old data. "How did anyone ever think this was good?"
Regarding tape programs, use your ears and base it on the material. I find the almost limitless options with Nebula's tape libraries can be a bit overwhelming. If nothing else, remember that traditionally, a studio would have one machine that they used for an entire recording, then maybe it would be mastered on another. When in doubt, a good sounding tape library can be used on every track and will yield authentic results... or so I telling myself.
woeischris wrote:Regarding tape programs, use your ears and base it on the material. I find the almost limitless options with Nebula's tape libraries can be a bit overwhelming. If nothing else, remember that traditionally, a studio would have one machine that they used for an entire recording, then maybe it would be mastered on another. When in doubt, a good sounding tape library can be used on every track and will yield authentic results... or so I telling myself.
That is exactly what I have been doing lately. Despite the many possibilities, I am learning that self induced limitations have become very liberating. As woeischris suggests, I am now picking a tape preset and using it on every track. In fact, whether it seems "right" or not, I also do this with consoles as well. I may be missing out on the supposed best preset for a particular need, but I am noticing the sense of cohesion that my mixes have now. And it has simplified the already complex Nebula workflow. I am treating my mixes to a full studio emulation. Certain console, tape machine, some select eq's and preamps, a collection of compressors, and a few "special" colors. My mixes almost automatically get glued together even before I work on the fine tuning. Much like I remember from my analog tape days.