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Henry Olonga releases many new products!!!

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Re: Henry Olonga releases many new products!!!

Postby Definity » Wed Dec 19, 2012 9:18 am

I Do love the sound of the new Air on top of tape mmmm
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Re: Henry Olonga releases many new products!!!

Postby Enclave » Thu Dec 20, 2012 2:31 am

Can't find the new presets in the emulation preset lists. Where is the 'Air' from? Hardware starting with a 'C'?
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Re: Henry Olonga releases many new products!!!

Postby richie43 » Thu Dec 20, 2012 2:35 am

If you open Nebula, it's under the "HO" setting, and in the big list it is simply "Air".
The Sounds of the Hear and Now
http://soundyaudio.com/
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Re: Henry Olonga releases many new products!!!

Postby Enclave » Thu Dec 20, 2012 2:50 am

I meant the document with the real hardware listed.
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Re: Henry Olonga releases many new products!!!

Postby richie43 » Thu Dec 20, 2012 3:11 am

Enclave wrote:I meant the document with the real hardware listed.

Oooop. That document was made before this release.
The Sounds of the Hear and Now
http://soundyaudio.com/
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Re: Henry Olonga releases many new products!!!

Postby Henry Olonga » Thu Dec 20, 2012 11:16 am

If you look at the product page of Air you will see what product it is 'related' to.

http://www.nebulapresets.com/?product=henry-olonga-air-for-nebula-192-khz

If you look at that products hardware knobs all will become airily clear. ;). I have been intentionally vague - as I always am on most products so sorry for that but it is not too cryptic if you follow the thread ( re-read the last three pages ) and heed my hints. Hope that helps but I won't spell it out.
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Re: Henry Olonga releases many new products!!!

Postby Enclave » Thu Dec 20, 2012 11:53 am

Henry Olonga wrote:If you look at that products hardware knobs all will become airily clear. ;)


My decision to buy is no longer...uh.. up in the air.
Last edited by Enclave on Sat Dec 22, 2012 2:07 am, edited 1 time in total.
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Re: Henry Olonga releases many new products!!!

Postby Vernon » Fri Dec 21, 2012 1:11 pm

Henry Olonga wrote:Hi there,
Oh and I just added another product - a Ribbon Microphone - kinda fun warm thingy

Henry Olonga releases Roiher Ribbon R-One2One Microphone. Great for adding that warmth curve.
http://www.nebulapresets.com/?product=henry-olonga-roiher-ribbon-r-one2one-for-nebula-192-khz


Hi Henry,

which is the suggested use for such type of emulation?
The recorded material is of course affected by the mic character, so when you apply the mic emulation after, the result is the sum of the two...
Probably, but it's only an assumption, the best way could be to record with an extremely flat mic and then apply the emulation, isn't it?

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Re: Henry Olonga releases many new products!!!

Postby lipa » Sat Dec 22, 2012 1:26 am

Henry! Thanks for doing such a nice new libraries.. nice to see Your working hard to find, acquire and sample unique and fine sounding pieces of hardware! Thanks for that.. I hope You'll do some more of Kush Audio products. He's just releasing a new innovative electra eq.. sounds interesting by the name alone isn't it ;)

Anyway, Klaritiser and Air is now living on my tracks, busses and master buss. Yes.. on everything! I love the way Klaritiser deals with track dynamics.. It doesn't overcolor tracks and doesn't squash dynamics. Most other nebula libs sacrifices clarity and microdynamics of 90% of the spectrum just to get punch in some frequences. This one brings new level of clarity and some punch too with no apparent side effects. I love it.. sorry for a long post.. :P (just wanted to explain why I like this lib so much among the others).
Oh, by the way, the grith mastering eq mojo (and q clone curves) is THAT C******r flavour i've been waiting for in nebula.. niiiiice 8-)
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Re: Henry Olonga releases many new products!!!

Postby Henry Olonga » Sat Dec 22, 2012 1:57 am

Hi Vernon and Lipa,
Lipa, nice one - glad you are finding my stuff useful.
Vernon.
I guess as all things ITB the rules get blurred as to what you can and cannot do. I say just go for what your intuition suggests.
Like all mic emulations - you are only as good as your original microphone capture. If it was really bright then adding a bright model may not help things and vice versa for the low end. Some of the better mic modellers allow you to flatten your original recording and then superimpose the new mic on top of it. You can always use one of them to take your microphones frequency tendencies away of course and then use Nebula to add colour after that. I have never been happy with that method as a microphones pick up varies so much that even moving it an inch or so changes the way it translates. So the measurements to remove your own mic first are another layer of complexity that doesn't always work. If Microphone modelling will be a big part of your mixing then by all means go for as flat a mic as you can to record but I think that is over thinking things. I suggest just load the mics on a case by case basis to do specific things - where you want a little bit of depth, brightnes or flattering characteristics that high end mics can give to a track. It's a game of inches really. There will be other microphones on the way that have a more natural curve. Most of them of course have a high frequency boost unlike this one. That means this one is great for dampening down the harsh high end or boosting a limp low end.

Having said all that I can give some things I think it may be useful for.
The first thing I will say is that the mic has alot of HF roll off as do many Ribbons. It also has a big low mids boost - especially the close samplings ( Proximity effect ). These two characteristics can be useful by themselves as they can be equivalent to turning down the high end and boosting the low end with an eq. I am sure there are many instances where you may want to tone down the high end. For example, if you recorded some really scratchy strings and want to tone down the scratch. If you want a warm jazz vocal. Works great on jazz guitar. The Ribbon is really good on micing a guitar cab. Here is an example that I am experiencing now - in the case of my 'Big Amp' and some new small amps ( releasing soon ), if the amp sounds thin then you can add the Mic after the amp in the FX bin to emulate going through the amp and then into the MIC. Sounds sooooo realistic to these ears - scarily so in fact. If you have recorded with a cheap mic that has a rubbish high end again this may help. It won't work on everything but then again not much does.

I have found that you can now take a track in a totally different direction by tweaking your path - take a vocal and send it through for example a N*****n Mic ( coming ) - into a Valve Pre and then into a CL1B compressor routed to your Master bus with Tape or whatever you want. Each added piece of the puzzle adding a little bit of magic hear and there. That is the Nebula way now - you have the option or rebuilding the whole of the modular parts into a cohesive whole now and you can decide when it is appropriate to do so.
So from my perspective - I treat this not as science but art and even though your recordings will already have a signature - who says you can't just take it to where you want it to go - you know that sound in your head? :D . Warmer, fuller, thicker, spitty, shrill, bright - you can get it in oodles now and it's up to you to re-mic, re-amp,replace, re-whatever - oh and use Reaper of course.

Just a word of advice for many who use my presets. I mentioned this in the interview I gave to Acoustica but in case you missed it here it is. It is worth repeating if you want to duplicate the sound you hear in realtime.

Acustica Audio: Which studio configuration do you use. ITB, OTB or Hybrid?

Henry Olonga: I work mainly ITB now after attempting a hybrid approach with a small format console. I now use my hardware in real time to bounce individual tracks that need a specific treatment. Not as hardware inserts but in a DA/AD loop in conjunction with VST plugins like Nebula - it's all about chains with me. With GML, A*I, Helios, N**e and E*I gear around, I can get most flavors I need. My dual Intel Xeon CPU, 8 core computer can handle about 10 full quality Nebula instances and so I have no option but to bounce down on a multitrack. It has forced me to learn to build a mix track by track, commit , free up CPU and move on. I have good Prism sound Orpheus convertors and there is something pleasing about turning numbers into voltage. Of course I don't do more than one generation. If I am using only plug-ins in conjunction with Nebula, such as my Mojo Series, I still do a digital real time bounce either internally in Reaper or using my S/PDIF connections for convenient routing. In other words I treat my Nebula instances as real hardware racks to be bounced in real time as it sounds closer or identical to what I hear when playing back IMHO. I find if I don't do this the sound changes with faster than real time bounces. Once I have the tracks done, I then move onto the various buses and master bus for real time final mixing. I think the master bus screams out for a Nebula preset to add instant mojo to a track. I swear by it now, even a simple preamp is enough to add some overall character. All in all, my method is quite different I am sure. Now you can understand why I like to get instant feedback with my presets.
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