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Re: consoles...Consoles...CONSOLES

Postby farjedi » Mon Aug 02, 2010 1:05 pm

I think people are going to be more considered in their purchases now there are so many options. If Nebula could respond like the real hardware into saturation I would feel more like buying them all as the range of use increases, but different shades of subtle obviously draws the question, 'do i really need this?'..
I think consoles sales are going to plummet, time for something new like time variants and the long awaited compressors, multi mic'd real spaces, synth filters..anything other :)...
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Re: consoles...Consoles...CONSOLES

Postby SWAN » Mon Aug 02, 2010 1:45 pm

So far the strongest saturation I have heard is Henry Oonga Power Distortion which seems pretty cool to me - so I dont see why Nebula cant be pushed harder more often?...But Im gonna pick up Bogen in a couple of days and Im hoping that has some more character...
I think the Slate product may dent the Nebula sales and to be honest I have found the demos to be quite convincing...typically with an algo product the sound is more obvious but it does sound good I have to conceed...AlexB et al may say its cheesy algo style saturation but if it sounds good it is good? I can certainly hear the effect clearer than in the Nebula examples...controversial I know...but there it is...I will be the first to admit I dont have golden ears...
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Re: consoles...Consoles...CONSOLES

Postby Formbank » Mon Aug 02, 2010 2:15 pm

I have to say that I can't hear any significant differences (or the differences are very subtle) between the console programs.
I'm not being negative, just a personal observation - I don't think the console programs are for me.

However the nebula reverbs and Eqs (amongst others) - wow !. I'm also looking forward to the compressors, guitar cabs, filters (a decent wah-wah would be great) etc.
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Re: consoles...Consoles...CONSOLES

Postby ngarjuna » Mon Aug 02, 2010 2:41 pm

If you're looking for the greatest classic consoles of all time to destroy your audio with weird coloration, then yes the consoles are probably the wrong solution for you.

If you're looking for plasticky, gimmicky coloration that is easily audible, you wouldn't be any more likely to get that effect running your audio through an old N**e console than you're going to get it running your audio through well sampled old N**e console programs.

And no, just because something sounds easily noticeable doesn't mean it sounds good. There's a wide gap between "I can hear the effect" and "That's gonna sound awesome summed up on every channel" (and, in my experience, it's extremely rare that both of those two statements are concurrently true).
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Re: consoles...Consoles...CONSOLES

Postby vicnestE » Mon Aug 02, 2010 2:43 pm

I would love more guitar cabs, but it seems that AITB is in a busy.

You can choose at least one console, it does help make normal level mic+preamp saturate in a good way and glue together.
The console effect is subtle for one track yet noticebly good for true mixing works.

I don't think we will see compressor within this year. It would be GREAT to use analog like compressors rather than modelled ones.
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Re: consoles...Consoles...CONSOLES

Postby Mercado_Negro » Mon Aug 02, 2010 3:03 pm

ngarjuna wrote:If you're looking for the greatest classic consoles of all time to destroy your audio with weird coloration, then yes the consoles are probably the wrong solution for you.

If you're looking for plasticky, gimmicky coloration that is easily audible, you wouldn't be any more likely to get that effect running your audio through an old N**e console than you're going to get it running your audio through well sampled old N**e console programs.

And no, just because something sounds easily noticeable doesn't mean it sounds good. There's a wide gap between "I can hear the effect" and "That's gonna sound awesome summed up on every channel" (and, in my experience, it's extremely rare that both of those two statements are concurrently true).


Exactly my thoughts. No more to add.
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Re: consoles...Consoles...CONSOLES

Postby ngarjuna » Mon Aug 02, 2010 3:31 pm

This probably would have been helpful earlier in the thread, but better late than never. For many, the differences between files have proven too subtle to be audible. I believe a lot of that might have to do with how you're performing your comparison listening tests. I do have a few suggestions for those having difficulty hearing the differences.

Set realistic expectations
I've said it before, but it's an important point that many don't really seem to be getting: the coloration from these consoles is "subtle". You're not going to load it onto your track and be shocked at how "amazing" or even "different" it sounds. It is, as VicnestE said, part of the foundation of a great sound when you're trying to make things glue nicely. And there's a good reason for the subtlety: because if you ran your audio through any of the actual consoles in this test, you'd have pretty much the same result: the coloration would be nice but subtle. If you had two of these desks setup next to each other and performed the same listening test that is failing to provide a difference in comparing these files you would likely have the same problem comparing the actual consoles.

With all that in mind, don't have the expectation that you'll switch to the next file and all the sudden it will sound like a different mix; it definitely won't. If you're prepared to compare subtle differences it will make it that much easier to identify said differences in your listening; if you're looking for major differences much of what you hear will simply be a lack of such a major difference.

Quick Switching
This is probably most important: don't listen to one version straight through (or even halfway through), then another, then another, etc. Human perceptual memory is one of our weakest traits and the differences, while certain and present, aren't going to register this way for many people. Instead, load all the files you wish to compare into your DAW and switch quickly back and forth between them; that's the whole point of this comparison; you could never do that by toggling 40 instances on and off (by the time the processor caught up again too much time would have passed, same problem as listening to one file then the next). After bouncing it back and forth a couple times it should be a lot easier to hear.

The Devil is in the Details
Compare small segments; again, poor perceptual memory will work against you in comparing long segments or wide frequency ranges. Focus on details, listening repeatedly to the way particular details sound in one file, then quickly switching to the other to hear the difference. Listen to particular transients and compare that exact transient on multiple files; pick out melodic phrases and compare that particular phrase back and forth between files. Some details will be more affected than others (and the console[s] in question will determine how much, there are big differences between some of these programs and between others, not so big).
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Re: consoles...Consoles...CONSOLES

Postby everbeatz » Mon Aug 02, 2010 10:24 pm

I'm just speculating here, but mimicking a console which has all channels different in terms of color,phase shifting and crosstalk can't be emulated by putting just one "Nebulized" channel across all digital tracks - to me that's like using one channel/buss of the console and recording all tracks through it...or I'm wrong here?

CLA himself claimed that his S*L sounds different when it comes to individual channels - one channel is more suitable to bass, another to kick, snare, etc. You just have to explore the thing and its potential of sonic qualities.

I'm not trying to put down any of 3rd party developers that brought us console programs, I actually congratulate them for the hard work and time taken to make all those programs, but I'm still not sure it's that close to the real thing...

just my thoughts here..
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Re: consoles...Consoles...CONSOLES

Postby futur2 » Mon Aug 02, 2010 10:45 pm

everlast wrote:I'm just speculating here, but mimicking a console which has all channels different in terms of color,phase shifting and crosstalk can't be emulated by putting just one "Nebulized" channel across all digital tracks - to me that's like using one channel/buss of the console and recording all tracks through it...or I'm wrong here?

CLA himself claimed that his S*L sounds different when it comes to individual channels - one channel is more suitable to bass, another to kick, snare, etc. You just have to explore the thing and its potential of sonic qualities.

I'm not trying to put down any of 3rd party developers that brought us console programs, I actually congratulate them for the hard work and time taken to make all those programs, but I'm still not sure it's that close to the real thing...

just my thoughts here..


alexb consoles have different (i think up to 6) channels sampled
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Re: consoles...Consoles...CONSOLES

Postby Mercado_Negro » Mon Aug 02, 2010 11:11 pm

futur2 wrote:
everlast wrote:I'm just speculating here, but mimicking a console which has all channels different in terms of color,phase shifting and crosstalk can't be emulated by putting just one "Nebulized" channel across all digital tracks - to me that's like using one channel/buss of the console and recording all tracks through it...or I'm wrong here?

CLA himself claimed that his S*L sounds different when it comes to individual channels - one channel is more suitable to bass, another to kick, snare, etc. You just have to explore the thing and its potential of sonic qualities.

I'm not trying to put down any of 3rd party developers that brought us console programs, I actually congratulate them for the hard work and time taken to make all those programs, but I'm still not sure it's that close to the real thing...

just my thoughts here..


alexb consoles have different (i think up to 6) channels sampled


Yep, 6 different Input lines and 2 for mics. They all sound different and like CLA said, each one of them is suited for specific stuff (once you take some time listening to each one of them you 'learn' their sound to use them properly later while mixing). These are my appreciations about the Vintage Blue Console:

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