This console with the new options is absolutely lovely. Open tone, sounds like a record!!! All the mixbusses, the inputs, eq, filters... I´m a mastering engineer and I use it all the time.... I have to try to mix with N14 and mastering with this one.... Gonna love it for sure!!!
I don't want to say anything more at this very moment, regarding V2 of what is likely, the most spectacular sound Console and Suite.
ok ... I will say that immediately, the small issues I dealt with in V1, slight muddiness and low-end rumblings, that I corrected with minor eq'ing [AIR-eq or others] and HPF, are now NO longer needed. Also, the Midrange is clear ... no slight twist in the mid phase, and the Top end is no longer 'edgy' ...
Will comment more later, as I've just started comparing v1 chains to a replicated v2 chain.
The 'improvement is so major, that I want to insure that I have critical balance/settings verified.
Big first, a question AlexB.
Looking at the 'Q' values. Am I right to assume that the 3 values are actually the same widths between v1 and v2? and that the NUMERICAL display is showing the correct 'octave-width number' in V2 ? [for those not seeing the v1 library, the Q's were labeled 0, 1, & 2 in V1. With v2, the Q's are labels .25, .5, & 1]
Be sure to download the latest Manual from AlexB's site [any of them]. The new version is listed near the end. Good info there.
I'll also mention [as I continue working this Suite] ... do not overlook the ND Presets. I have a delicate spectrum in this restoration/mastering that centered from 2-4k. Already running several GM instances, the 'full' Hi-Mid Preset was definitely hitting the area [-0.5dB], but it was exciting upper harmonics that have nasties floating about. I switched out for the ND version ... magic. A 'drier' sound, more focused, and natural. It kept the main Vocal defined and slightly more stage forward, without the upper end getting tingly and distracting.
It is now an easy comment to say that this new Console and EQ release TOTALLY blows the [already great] initial release, out of the sonic water. It is not even a contest.
With this new update, I was able to lessen, or even remove previous 'correction' eq settings I had. Depth and Clarity. In fact, I was now able to shape the 250-500 'body' range to a much more balanced position.
Everything opens up. No longer any sub lowend rumblings being excited. The LowShelf can be pushed harder if needed.
The now Continuous GAIN [rather than 2dB stepped] takes this EQ to even greater level of flexibility. Changes of [even] 1/4 dB have a clear impact.
The current mastering session under test is a recording from around 1968-72 [?]. The 'match' of this Suite combination is effortless, and a natural fit. Now, I've also used this Suite on modern recording, and it was beautiful. I have every feeling that this new version will work even better than before.
AlexB ... you continue to amaze. Every upgraded release has taken the previous release library to an un-expected quality/musical level.
Including 44.1 & 96 SR presets is fantastic, and the expanded Presets and continuous gain is so welcomed.
Of course, I need to now make changes to my NVC-GMC-eq MIDI controller to encompass the new flexibility ... and I don't mind one bit
To the general Nebula Community ...
You have heard 'us' rant and rave about AlexB's consoles/eq. Every new release seems to get the TOP praise, the new benchmark ... I've purchased most every AlexB release, have all the consoles, and I think every EQ & dynamics.
This latest German Mastering Console, EQ, & dynamics is, simply .... Spectacular.
Just installed and tried everything out - the "chocolate" bus together with clean inputs and filters at 30Hz/18kHz ended up really doing something nice to the sense of space.
Cuts at 175 and 2800 smoothed things out and reduced some bass buildup to reveal more clarity in the mids. The sound came together quickly and easily. I really like doing as much as possible with limited or stepped units, then turning to other tools only if the character isn't suitable or more precision is required.
I did have to use some dynamic EQ for other areas, as drone music often has resonances that pulsate, and it's critical to not over-zealously thin out the lower mids. And, the MMeQ cleaned out some 600 Hz between the steps on the W95 EQ.
Anyway, this is a great sounding library (SP79 + W95) and worth much more than the modest upgrade fee!
In the older GMeQ the Q values was numerical only, 1-2-3 it's like to say A-B-C. In this newer release the Q control shows the real value.
I have spent a lot of time - months - to refurbish this console. Every single electronic component has been hand/ear selected for the right sound. I have built the different Master Busses with some electronic components by Neu-mann like Haufe transformers and broadcast filters, vintage OpAmps, premium electrolytics and Polypropylene caps, ultrafast diodes, metallized resistors etc. etc. This has involved the whole circuit, the audio path and DC path.
But all this work would have been useless without the right converters and technique-skills to sampling.
Since this is a mastering console. Do you just put instances on the master or do you use it on every track like the rest of them?
Btw, I used Sonimus Satson on the latest album I worked with (too many channels, I use a lot of nebula so adding nebula consol to every channel would crash cubase) with CLC Buss on top of Satson buss and it made the result even better. Then I switched to CLC Buss Modern to open it up a bit
I don't even feel to have it mastered. I'm happy with it, and I'm a perfectionist so that says a lot.