also i have to say that i really agree with ngarjuna's sentiment. the extra 'guru' control stuff should be thought of as just that. it's stuff a user can experiment with and possibly come up with a setup that works 'better' for a specific task, but may be sacrificing something else, and so then that program may not work well in OTHER situations besides the one you 'optimized' it for. every plug-in or computer program that's ever made has 'compromises' in it that the developers had to make. actually this is true of not even just software, but EVERYTHING. buildings, statues, art, roads, cities, **the music you might make with these programs**, everything is designed by balancing out what you want with what's possible and practical. the best any developer can do is to try to have their software optimized for most uses, instead of hot-rodding it to work super good in rare cases, and less good in 97% of actual use.
every plug-in ever made probably has lots of 'hidden' parameters that the developer themselves adjusted before release, but they usually won't make those available for the end user to 'tweak'. so they are set by the dev, then that's how they stay, and you can never access them. every single plugin. but because those devs hid those parameters, you never even know about them, so they are literally out of sight and out of mind. people should look at the nebula 'guru' controls as a bonus possibility for you to experiment and maybe find hot-rodded uses that aren't officially supported by acustica, and assume that you will be sacrificing something else for what you got. kind of like adjusting trim pots in a guitar pedal or other equipment, or otherwise modifying the electronics inside.
Lots of solid comments regarding 'GURU' setting adjustments. Nice to be able to access parts of the engine ... but most importantly ...
NEBULA 'sounded' better than most all my previous 'algo' purchases.
When the thrall of 'experiments' began surfacing, I read them as interesting, but had no time for my own experiments ... was more consumed in studying and working with all the libraries I could since moving into my new mastering room.
One of the motivational aspects that did have me experiment happened most recent. I found the test using the FATE compressor compelling. I need to study and compare much more thoroughly. IF the final output justifies the massive resource requirement, it might be useful in a batch, pre-processing mode. At least till I build my next computer monster
As for a 'fix' for NEBULA to handle compression ... I'm not certain that 'fix' is the proper comment. The idea behind convolution [at least my minimal understanding] would require a quite different design to provide 'compression'. Much in the same way that CDS developed a special R2R tape plugin.
I very much look forward to finding a software based compressor for my toolbox. I've demo'd out so many in just this past week, and still searching
The 2 that I dislike the least, Voxengo PolySquash and HOFA IQCompressor are being tested. Still, neither of these are traditional compressors with standard adjustments. Oh ... the 'PSPOldTimer' is another interesting one ...still
So I'm currently sending output from these 'algo' plugs into a NEBULA compressor library like Fenix, GMD, etc.
highvoltage wrote:little OT but, for software compressors i found both the PSP Oldtimer and the Busspressor the most amazing sounding from ALL the plugins i have ever tried. They really nailed something there.
But nebula really adds that tone to the sound, too bad its so unpredictable.
Not familiar with 'Busspressor' ?!?
I have 'OldTimer' auditioning on a current mastering/restoration project. I demo'd PSP Master Compressor, but really did not like working with that interface
What sonic difference is 'Busspressor' compared to OT?
Busspressor is meant to emulate an S*L style (i think VCA) compressor. Oldtimer sounds more like a FET to me.
They both have a unique character. I like BussP on slower attack settings, when you need a chunky sharp attack, or to glue a mix together slightly. Oldtimer likes to squash things, it has generally a faster attack and release response. Both great imho.
I also like the PSP compressors. Another algo comp that I love is the GTS-39 from Sknote. (http://www.sknote.it/GTS-39.htm) A tube comp/limiter. Very nice and smooth. I also love all of the Stillwell comps, and my latest fav algo comp is the Klanghelm DC8C. You can try the free scaled down version, the DC1A, which has the same amazing sound of the bigger one, just simpler and free. Definitely more and more cool algo comps these days, which is great for work-flow and CPU life. But there is still something I love about many of the Neb comps that is missing to my ears with even my most favorite algo comps.
richie43 wrote:I also like the PSP compressors. Another algo comp that I love is the GTS-39 from Sknote. (http://www.sknote.it/GTS-39.htm) A tube comp/limiter. Very nice and smooth. I also love all of the Stillwell comps, and my latest fav algo comp is the Klanghelm DC8C. You can try the free scaled down version, the DC1A, which has the same amazing sound of the bigger one, just simpler and free. Definitely more and more cool algo comps these days, which is great for work-flow and CPU life. But there is still something I love about many of the Neb comps that is missing to my ears with even my most favorite algo comps.
Thanks for the compressor[s] suggestions ! There are several mentioned that I will need to demo out.
The 'Klanghelm' looks very interesting ... I did buy his VU meter plug, and was able to throw out all my other meter plugs [finally].
Yea ... them compressors ... primary focus is for mastering. I like to feed NEBULA for the color/character, so a 'clean' algo is preferred.
Having NOW to use VST compression, I'm better understanding the frustration I've read from others as they've searched and tested. Most of the algos I've tried breakup so badly when I go for my initial setup procedure. Makes it very difficult to get my tweak calibration set with all the distortion/breakup that I hear. BTW ... I use compression in a couple of different techniques. One is to shape the attack/release envelope to compliment the 'groove', and 2nd, for overall dynamics.
Coming from pure hardware, I also acknowledge that I need to relearn using plugins
Clean compressor? Well, the Klanghelm one is colored, but for the right material, it can be an awesome mastering compressor on it's own. I use it more on parts and busses. I actually prefer straight Neb compressors for mastering, but I also am working with material that does not require heavy or super fast compression (or that's just my tastes). Alex B's German Mastering Dynamics, in my opinion, is about as good as it gets. But STN's 165a and Alex's Fenix have been showing up in my mastering chains more and more. The Sknote GTS-39 is one of my all-time go-to for drum busses and bass, at least while mixing. I may swap it with something else as I mix, but often not. It is so simple and good sounding.