Well it's pretty amazing in terms of a variety of really different programs and a level of detail that's quite extensive. Each combination of machine+tape has a different sound; I even find myself using the "lo-fi" programs like the Wollensak that I never really expected to or bought it for.
But everything in it sounds really amazing. It's one of my workhorse libraries, I get extensive use out of many of the machines sampled here though I was initially on the fence about whether or not I needed such a library and how much I would use it.
So for me, totally worth it and then some. Sizzle.
Although the included tape library does sound cool and is totally usable the R2R offers more of a real-world usage. R2R is about the fidelity of properly captured tape. For example if you want enhancement and complimentary processing R2R is the way to go. The included tape library also again has its own sound and can be looked at more as an effect. Not to mention R2R does have tape presets for more dramatic or effect-like processing. But at the end of the day, I'd have both R2R and the included library in my arsenal.
I don't bother using other tapes provided with Nebula since I purchased the R2R and Nebula at the same time. while the others are 'cool' I didn't find them all that usable for my work compared to what the R2R can do.
Great thing is you can process say your entire mix full of Studer or other 'hi-fi' programs, and use the other programs to 'eq' your instruments (as suggested by Michael). I really think that method at times is far superior than simply eqing alone and its VERY FUN to test and experiment.
Its so fascinating to hear the whole mix through some of the Lafayette, ect lo-fi stuffs to get a really good idea what they can do for creative eqing.
I have yet to get the tape booster set, but that is my next purchase for sure.
Johnkenn wrote:sound in comparison to what's already in the standard library. I'm actually loving the "Color Tape" setting for drum bus...
the way I see it is that the R2R library is actually 2 different libraries combined together. one library is the recording and mixing Tape's. the Studer for all multitrack jobs. and ATR or Revox for the master mix. to me those three programs are the core engine for what i do while all the remaining machines are more of a "Special FX tape". which i use but for special FX. the bread and butter are the Studer (Bread) and the Otary ATR (Butter). let me just say that i have worked with real tape almost two decade's ago when i was just starting as a studio Cafe boy. but since it was small studios and late eighties, most machines were 16 Tracks on a 1/2 inch. i know, not very Hi-Fi. but back then you only worked with what you had and couldn't download 12 new tape plugins every day. anyway i knew thet the Tape sound was missing from DAW recording, but i didn't remember how much . fast forward, i bought the Tape Library when it came out and was using it here and there mainly for special fx. a month ago a friend of mine bought the AnaMod ATS-1. i was very curious to what it sounds like. after i got to his studio and used it for a few hours i understood three things. 1. more than Transformers, Tube's, Preamps, Consoles, Tape is the biggest contributor to what is known as "analog/Vintage Sound" 2. You have to understand the interaction between level & saturation to get that sound right. 3. ATS-1 is a great machine (b.t.w. it's based on a very interesting and peculiar concept, analog modeling. i read that it actually the Digidesign Tape plugin modelling, but without the AD/DA conversion. all done in the analog domain) but the R2R holds it's own very well against it and can do 90% of the ATS (the other 10 percent are Bias and the EQ which has a great impact there.) after the session i had with the ATS-1 i developed a new way of looking and working with the R2R. first - i will pass all the mix tracks through the 15 ips Studer programs (24 tracks/2 INCH) and i will choose the program depending on the gain of the track, if it averages around -35 db than i will use a program of -35 db on it and be very careful not to drive it more. although it's very tempting to drive each track for a lot of color, i discovered that the program act the best when it comes in small doses on each track that accumulate to something bigger on the summing of all tracks. after imparting the 24 Tracks Tape sound on all of my tracks, according to each track input gain (that's why i don't like the Batch programs that will print the tape with a fixed program like Wavelab does) then i put a single instance of nebula with a 30 IPS master tape program (the Otary ATR sound the best to me but Revox is very good too) and adjust the program to the mix gain. what we have done here is "Faking" the way tape was used in the past. you record to 24/2" at 15 ips (mostly, not always) and then you record the mix to a half inch two track master tape running at 30IPS. if there was one thing i wanted to have after i had my way with the ATS-1 was to have Michael sample more tracking machine for his R2R2 (like 3M classics from the 60' or a vintage 16/2" machine) and other tape formations as i feel that variety is what's addicting on the AnaMod Ats-1, so many classic sounds can be derived by different machine's and different tapes. the Nebula can get there easily and at a fraction of the price. it came out a bit longer than i thought but i hope someone will find that information useful someday.
Great post David & definitely a pointer in the right direction.
I've been batching R2R as a recorder also using the 15ips Studers along with a console & also a tape boost plus program & while it's certainly impressive in the way it makes a track bigger & easier to bring together I have been wondering how to introduce a little more subtlety & perhaps variety to the result.
Can I ask for a little more detail on what you mean by this part
and i will choose the program depending on the gain of the track, if it averages around -35 db than i will use a program of -35 db on it and be very careful not to drive it more.
Are you saying you select the program itself depending on the gain of the source (in which case how do the 0, -3, etc programs equate to this)or do you mean that you will alter your input level for each instance?
Would also love to know your thought on the tape boost plus if you've tried it?
What I love about Nebula is that after a while working with it (mostly because of the what I had read rather than what I could hear), I'm now worrying about the subtleties when in the early days I would probably have been wondering if most of these programs were working at all!