Sorry for the late reply and of course you didn't do anything wrong. I am not on here as often as I would like as I am now starting to finish my album. It has taken a while he he. Thanks for the idea - I love your ideas by the way. I will add it to my list for when my current project is done but no idea when I will revisit amps. Keep making good music! Henry
About the new mics, I´m working with the Shure SM57 library and have problems for use it, I don´t get the same results that I have with your very first mics Nebula emulations. I think that the correct way for make the library was the past method and not the newer.
I feel that there aren´t Nebula libraries about the "line-out" of electric pianos and vintage organs for add the analogue touch to vsti of these models of instruments. Recently I was working in a cover song with a vsti of a Hohner electric piano and was evident that I did need a Nebula preset of the line out of a electric piano for sound well.
There are electric pianos models more important for "nebulize" and have more vsti products, there are:
I think that the libraries of this specific instruments could be used for other vsti electric piano models of the same company (Wurtlizer 200A for vsti Wurtlizer electric pianos, etc...) but can exist the possibility that whatever electric piano line out Nebula library could be apply to whatever electric piano vsti in general for add the hardware behaviour of the instrument.
About the vintage organs I think that make a line out Nebula libraries of this instruments for add to vsti emulations is more difficult, but it would be a good idea too, the most important models would be:
Relative to possible "speaker out" guitar/ bass amp Nebula libraries, there are some models more important than others in my opinion that might have priority.
You have cab + mic Nebula libraries about the three combo amps than could be considered the most used in studio recording and live bands, they are Vox AC30, Fender Twin Reverb and Roland JC-120.
About high-gain amps, I think that the most used models are Peavey 5150, Mesa Boogie Dual Rectifier and Marshall JCM800.
Vintage amps more famous: Marshall Plexi, Orange OD120, Hiwatt DR103
About bass amp, you have some models in cab + mic Nebula libraries very interesting for make a "speaker out" library option, they are Gallien-Krueger, Trace Elliot and Ampeg B-15 Portaflex. In my opinion the most important bass amp of the history is Ampeg SVT-CL and it might have its Nebula library.
I was working adding your Marshall JCM900 amp Nebula emulation to different models of amp heads in virtual amp software. It work well, the trick is adjust well the g-drive parameter, with this I add common behaviour/harmonics of hardware of guitar amp to the amp head emulation of the virtual amp software.
Maybe we could use the Nebula amps emulations for add the analogue touch depending the company or the amp style (high gain, combo, ...) for use with a general purpose ´cause share the same tone or internal construction, I think about a Fender Twin Reverb speaker out Nebula library for add the analogue touch to whatever Fender combo amp head in the virtual amp simulator (Vibroking, ...) because they have the same tone, maybe we could use a Peavey 5150 speaker out Nebula library in whatever high-gain amp with similar features/sound, like Soldano SLO-100, etc... a solid-state bass amp speaker out Nebula library of a specific model to add to whatever solid-state bass ampfor get specific behaviour/ harmonics of the amp, apply JCM900 speaker out Nebula library to whatever JCM amp model... I say it because make speaker out amp Nebula libraries of all the amps of the world is imposible and a good idea would be make the Nebula libraries in relation to these ideas.
Hey Guys - thought I would add a few tricks for you if you are using my latest releases - seeing as I am now actually making my album with them on a daily basis . The original presets would require extensive updating. Anyway - it will give all your presets a new lease of life and get you closer to hardware performance. IMHO.
These tweaks are more for bedroom producers who have time to tweak and want the best possible quality and realism. Perhaps if you run a big studio and have deadlines then just use the tools as is. All of this is subjective of course. This is ART!!!
I have been going for the Peak setting most of the time in the under the hood settings but sometimes it doesn't work on too percussive material. So for example a sustained bass may sound great with the NV PRE PRO but slap funky percussive bass may sound like they are pumping in an un natural way. Part of the solution is to change the setting to RMS-17. This also applies to other presets like amps and Pres - you can choose. Basically if you have really percussive material that misbehaves then try changing the setting. It may also be that RMS-17 is preferred in most cases but to get that interesting crunchy distortion perhaps Peak is best.
Anyway - go into EDIT - EVFS - EVV TYPE and scroll through using the second fader to chose either Peak or RMS-17. You can audition and choose which ever works best on the fly.
With the ENVS setting you can choose between Linear or what I am using now more and more - EXP. Great to tweak these settings for master bus presets to find out which one works great as well
Add that to the option for Timed and you can really tone shape more than you imagined They really do make a difference to the way the presets react and are too numerous for me to tweak so I leave it up to you. My favourite is to work at 64 bit 96 khz - load the 192 khz preset and then do the tweaks. Bounce down - either 'in the box' or through hardware - or even through the SPIDF - YES there is a difference - move on - sounds great! Don't worry you don't need to keep tweaking all the time. You tweak when you hear a problem or desire a different tone.
Hi! Always interesting to read about your suggestions, Henry! And perhaps the most important thing I'll take with me from your post: make some music! Looking forward to have a listen when your album is finished
This one is for the guys who work with acoustic instruments. This may surprise you but the great Bricasti M7 - nice though a real pain to sample; but it still doesn't satisfy me - real rooms is where it's at!!!!! I have a working relationship with some schools and have decided that my next series of samplings will be space related. Big and small, near and far - a few millimetres from the mics through to deep, deep stuff. Anyone up for that? Of course we are talking high bandwidth recording here - as is my custom. Good mics, preamps, great convertors. Not so much for electronic guys.
I have booked five days up North soon and will be taking on the big Orchestral sample library manufacturers to try to get their stuff into nice rooms. Think Air Lyndhurst studios and their Spitfire series of releases. They often have a close medium and distant sampling of their stuff. Makes for a consistant sounding mix and their stuff is amazing.
But VSL, LASS and others go for a rather more dry approach. Now - the issue - A lot of composers go for a ton of different sources of libraries. Percussion, woodwinds, strings etc may all come from many different brands and be recorded in different rooms.
What I want to do is provide audiophile grade room models to place everything in similar sounding room. I don't mean the usual impulse responses you get from other maufacturers but the purest models with fine high resolution tails that fade into blackness and ambience that can unobtrusively add the sense of dimension without sounding harsh or grainy. I mean most acoustic mixes are mainly air moving in a room. But who has thougth to sample the movement of molecules in a room. Fancy that - dedicating a whole working week to sampling the air ............... . It's gonna be good!!!