nebula is technically able to do dry/wet, but it has to be set, when a sampling is deconvolved into a program. so nothing a normal user is able to do.
many reverb programs have dry/wet built into the program.
in the case of theater of life, it is actually a good thing to not have it, because these programs contain quite a lot delayed direct sound (depending on the program). especially with the near mic programs, you get a lot of bad combfiltering, when you mix them with a dry signal. it was intended to use as insert on tracks, but always full wet. you get the full room, with the ability to choose the distance and angle before the microphone.
system 1: windows 8 32 bit - samplitude prox/x3, tracktion6/7, reaper system 2: mac osx yosemite - reaper(32+64bit), tracktion6/7(32+64bit)
both systems on: macbook pro (late 2009), core 2 duo 3,06 ghz, 4 gb ram, graphic: nvidia geforce 9600M GT 512 MB
Thanks for the replies………..that system of room reverbs has something really unique in the sound, different from anything I have ever heard in another room/reverb plugin. They are very dense, but there is a lot to be gained with the angle/depth controls in tonal response changes when used as an insert-interesting on kick, snare and toms for now, and really nice on stereo B3/leslie-3D. I'm using a console so each channels eq gets individual treatment after passing thru these plugins. If they're a little short, that can be rounded off with the overheads and a good hardware comp restores the transient. I didn't like using this set up to receive PT sends. I am very grateful to have these at my disposal. Many thanks to Room Hunter again.
Hello everyone. Hope everybody had a pleasant Holiday Season.
Question: In Nebula, with the input/output window signal levels changing constantly, is there a way to freeze the upper limit and/or lower limit (dbu readings) all this in peak mode? I know RMS modes are slower but less sensitive to Instantaneous readings. Peak can actually get you pretty close just takes more time to catch the lows and highs.
I wanted to ask. Is there a different tonal result between using the peak meters and RMS 17 in all nebula programs? Henry Olonga suggests this, and I don't question it for his programs, of course. Seems like it should be true for all. I didn't know.
Here are his Nebula tweaks……….
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.
Hey Henry, that is a very complex question with a complex answer. In reality if you use RMS and calibrated to -18DBFS you have to watch for 0dbvu on that Meter. If you use a Peak Meter then you watch for -18DBFS on that Meter but its a lot more complex then that. What happens on percussive instruments or hi peaks and other things e tc...i personally go by standard of -18DBFS watching 0dbvu on a VU Meter. Before i was using LUFS but LUFS can not hit hard enough some of the Nebula stuff. LUFS is -23LUFS=DBFS.
Prime Total, Nebula Server 3, Scarlett 3, Amethyst 2, Aquamarine 3, Titanium, Magenta 3, Navy, Sand, Pink, Pink Compressors.