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Inside Nebula wet/dry mix

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Inside Nebula wet/dry mix

Postby namooz » Thu Oct 01, 2015 10:36 pm

I looked for this and am assuming there is no way to adjust it, but if there is can you respond?

Best Regards
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Re: Inside Nebula wet/dry mix

Postby botus99 » Fri Oct 02, 2015 1:01 am

Currently there is no wet/dry control embedded within Nebula. Reaper allows you to do this natively with any plugin, or you can always set up an aux send to do parallel processing with Nebula.
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Re: Inside Nebula wet/dry mix

Postby namooz » Fri Oct 02, 2015 2:39 am

Thank you, as I suspected. I'm using reverbs as single track inserts more and more these days. Still ok…Theater_of_Life to be specific.
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Re: Inside Nebula wet/dry mix

Postby botus99 » Fri Oct 02, 2015 4:58 pm

I've been ignoring that library lately... might have to check it out again haha. Yeah, this is one of those scenarios where bouncing a separate Nebula reverb/room track may be most beneficial.

Something tells me Nebula 4 will make this aspect of mixing easier to manage, but I honestly have no idea how or even if that's a feature in the works. We will find out soon enough ;)
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Re: Inside Nebula wet/dry mix

Postby mathias » Fri Oct 02, 2015 8:39 pm

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.
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Re: Inside Nebula wet/dry mix

Postby mathias » Fri Oct 02, 2015 8:44 pm

i would only use the farfield programs of ToL for a dry/wet mix and doublecheck for combfiltering, that may cause undesirable changes in the timbre of an instrument/sound.

just my two cents ;)
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Re: Inside Nebula wet/dry mix

Postby namooz » Sun Oct 04, 2015 1:09 pm

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.
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Re: Inside Nebula wet/dry mix

Postby namooz » Mon Jan 11, 2016 6:23 am

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.

Thanks in advance.
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Re: Inside Nebula wet/dry mix

Postby namooz » Thu Feb 25, 2016 12:41 am

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.

Best wishes
Henry


All the Best………Chuck
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Re: Inside Nebula wet/dry mix

Postby basaristudios@gmail.com » Thu Feb 25, 2016 1:17 am

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.
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