I've been using it for a while. I found that it attenuates the high frequencies a bit so things sound a little less harsh but I usually put a DocFear EQ on the master bus and increase around 12K just to get things sounding more airy and so I don't have to use the non-nebula EQ's as much. The two examples of a Project Pool template with multiple FX chains (AlexB MBC and CLC libraries are used). Save templates into NebulaMan's Project Pool templates directory, run NebulaMan and load the saved template into Project Pool dock. Add files to groups and render. AlexB Modern Black Console MBC (API. Audio Engineering. It is applied to improve the performance at the professional audio devices by hardware upgrade, with the same care these units will be sampled to produce the best sounding sampling libraries programs for Nebula and the best sounding VST plugins powered by Acqua Engine. This no-compromise.

1. Alexb Nebula Programs Running System

I've been meaning to try this out for some time now, so today finally I gave it a go. Mind you, I'm using the Alex B consoles together with Nebula 3 a lot but I'd very much appreciate a simpler way of achieving the same effect which the VCC would offer with it's simple GUI and streamlined processing. But to put it very simple. It just didn't sound as good to me. What is great about Nebula, or at least the Alex B and CDSoundmasters R2R libraries, is that they don't make the audio sound unnaturally processed.

When comparing the VCC 4k with the Alex B CLC you can hear that they're going for the same thing but IMO the VCC adds that 'processed' sound that in my world sounds 'digital'. Comparing the Neve consoles was an even bigger win for Alex B since it's a way more colored console than the SSL it would be harder to get it right I guess.

Here I noticed even more of that processed quality compared to Alex B which just sounds effortless and natural in comparison. It sounds like I'm knocking Slate now, but I'm not. It sounds very good compared to other saturators out there and I know they've worked sooooo hard on the algorithms. But I guess then it must be close to impossible beating the Nebula approach. I can only speak for myself, but some observations regarding VCC vs.

No post about the VCC anywhere on the internet lacks a Nebula user saying that Nebula is better. When hearing the examples posted on GS, to my ears, the Nebula mixes still have that 'digital' sound especially in the higher frequencies (around 11 - 14k). All examples I've heard of the VCC 'round off' the highs in a way that I recall analog boards doing. The Nebula interface isn't pleasing to look at and does not appear to be intuitive. Some people are prone to really fancy programmer talk when it comes to emulations, for me that sort of thing gives me a headache.

There's no such thing as 'better than', it's all subjective. BTW - I mean no offense to anyone out there who prefers Nebula over VCC, Plec's reply has been one of the most 'friendly' replies about VCC (when looking at other message boards' replies about this!). Also, have you found better results with them at the start of a channel versus the end, or do you do both? Mix and match maybe? I've been trying a few of these, and I seem to like the Brit N for mixbuss (low/mid loveliness), and 4K for vocal channels (high taming that I like). When I need punch I've been going US A.

Steering clear of the T chann until they say it's bug free. I crashed my session the other night (PT 8.0.4) by simply switching console types on one channel - I need to autosave man.So if you put the VCC as the first effect on your inserts, it's like emulating a console followed by your EQs/Dynamic sections (putting it at the end simulates you using inserts on the console). I'm really liking the first scenario especially when using the UAD 1073s, but on a mix I did a couple of days ago, I used the VCC after an 1176 (to simulate the 1176 being inserted on the channel). I thought it made a little bit of a difference in the behavior of the comp, which is cool because it actually makes a difference in how you place the VCC in your sessions! Another mix I'm working on, I'm liking the T emulation on the vocals bus (PTLE 8 crashed on me once when switching to the 4k, but it hasn't crashed since). I ended up using the US emulation on the mix bus, I had another instance of the Brit but it then sounded too heavy and I was going to throw a Cambridge to filter out some of it when I thought 'Let me see what the US does' and BANG, nice punch without too much bump in the low end, loving this thing!Thanks for the reply! I was reading through a JJP mix article and I saw him mention the differences b/w patching in before and after and why he does one or the other at some points.

Goes exactly with what you're saying. Thanks again. How do you use the nebula AlexB consoles?

Do you put one on each channel like the VCC? (It's not an attack, I also own Nebula, but was never able to use many instances.) I like what the VCC does to my tracks. But am wondering to get the AlexB stuff to have more options.Where VCC wins out with no contest against Nebula is the usability of it. VCC is just that. Nebula is made to fit whatever type of model anyone would care to model so the GUI and usability is very very unintuitive.

Plus, the Alex B consoles put a much heavier strain on the CPU plus extreme memory usage so there is also a win for VCC. But as I said IMO, the quality, even not a world of a difference goes to Nebula. The way to use Alex B's consoles sensibly is to use the line channel programs as an offline bounce (this is very simple in Cubase but more complicated in other hosts apparently) so you're not using them as real-time effects. The only programs you will run in real-time then are the bus, fx return and mixbus programs, which most computers today are able to handle. I can only speak for myself, but some observations regarding VCC vs. No post about the VCC anywhere on the internet lacks a Nebula user saying that Nebula is better. When hearing the examples posted on GS, to my ears, the Nebula mixes still have that 'digital' sound especially in the higher frequencies (around 11 - 14k).

All examples I've heard of the VCC 'round off' the highs in a way that I recall analog boards doing. The Nebula interface isn't pleasing to look at and does not appear to be intuitive. Some people are prone to really fancy programmer talk when it comes to emulations, for me that sort of thing gives me a headache. There's no such thing as 'better than', it's all subjective. BTW - I mean no offense to anyone out there who prefers Nebula over VCC, Plec's reply has been one of the most 'friendly' replies about VCC (when looking at other message boards' replies about this!)Probably a bit more 'friendly' because I'm not that biased.

When I first tried out Nebula I throught it was crap and discarded it within an hour of use. But after a year or so a friend told me I should try the Alex B stuff on Nebula becuase the whole quality thing lies in the how the 3rd party delevopers actually made the programs. So the programs I use now are Alex B's consoles and CDSoundmasters R2R and Tapebooster+ libraries.

In terms of tape sound. The R2R is second to none. There is no other tape sim plugin that even comes near this thing.

The developers had a nice analogy going regarding the technology that I found quite amusing and true. If you want to have a string section playing on a song and you don't have access to a real string section. Do you then look for a synthesizer imitating the strings or do you choose a very good sampled string library? Of course you can argue which one would do this and that. But I think it's a good description of what Nebula does compared to the algorithmic approach of plugins.

I was really looking forward to VCC and had this idea that even if VCC isn't quite there to my ears I'd still go for it because of the big win in usability. It's isn't that heavy on CPU so you can use multiple instances without having to bounce anything. With Alex B and Nebula, bouncing is the only way to go really.

I was very impressed by the demos Steven put up showing the software against the hardware, but when comparing for my own use here I still must say I prefer Nebula too the point where I feel it's not worth to sacrifice the quality for ease of use. Not to drive it further, but I found an interesting post by Alex B over at the Nebula forum.

Makes for an interesting read as well. '.About VCC I have seen a lot of 'enthusiastic' posts by betas to hype the plugin, I know that the forums are marketing places in all commercial sectors. I'm not worried about VCC because I have purchased the plugin to analyze how it works and. I wouldn't use it on my music. Oh yes, I have purchased it to return the courtesy that Eiosis did when he bought my console bundle and preamp color suite the past winter, oddly when the VCC's development started. I don't want make a war because I am not a marketing guy BUT I'm a tech with a tons of experience in electronics and music (form the easy baby-transceivers to military satellite communication) and in this land probably they can loose only.

To my ears the VCC plugin has pleasant sound, as ALL plugin it looses dynamics and still with that digital imprint. It's a nice sounding plugin BUT the only thing that I don't agree is that they claim that it sounds like a console. It sounds more like a 'Voxengo Saturator' than a console. Electronically speaking and analyzing the frequency response, the harmonic response, the phase response, the dynamic response and so, I can say strongly that this plugin don't act as a real console, even as the cheap-shitty Berh. In the analysis I have seen (and ALL can see) that the frequency response is totally wrong especially for US-A and Brit-N (but also Birit-4K is wrong.

I don't know the Trident so I can't comment this), also the harmonic contents is very poor and incorrect compared to real hardware which they claim to be close (broken console or fantasy console?). BUT the most strange thing is the phase response by Brit-4K mixbuss. It's very curious that the phase response is exactly the same as the phase response by AlexB CLC MixBuss first release (bought by Eiosis.) which was TOTALLY WRONG! Yes, I have done a mistake when I have programmed this preset, subsequently fixed it in the CLC PRO release. The preset was the sample of the mixbuss with accidentally inserted the BBE 882 in bypass mode and the phase response of both AlexB and VCC show this.(AHAHAH) I'm curious to see if some 'guru at GS' speaks about this strange phase response in the VCC plugin or nobody hear how the low-mid jump outside the monitors in an unnatural way?

Says that, I think that for the people which love the mp3-ipod-plugin-sound it's impossible to hear the real differences between a good plugin and a bad plugin (listening education), some people still believe that when something sounds more loud and flat then sounds good-analog-professional (again: listening education), the others will realize what I think of this plugin: nothing new, nothing to do with the real console, sounds nice as some saturators (but personally I don't like saturators, I like more and a lot the R2R for this type of sound). I can easily do a preset for Nebula which sounds and acts as VCC plugin, or better, without sampling the hardware but only using Nat3, the standard eq in the daw and some tricks. It will be very cpu light with thatridiculous 2ms kernel and then we can say: it sounds exactly like a Neve 88RS! I would be curious to see who realizes about this fake console.' To each his own on that.

There are people out there that like the VCC better. There are people who like Nebula's consoles better. In the end, graphs won't mean shit to people like me.

(Home users just looking for that sound) However, I will say this. The only time I notice people come out and bash a product like this is because it's getting shine.

The dude Chris at GS did it at first (AirWindows guy who has great stuff, but not for PC, damn!) It's all hype, huh? Misplaced enthusiasm? O well, learn to market better than my man. So Alex B is implying his shitty sound (aka early 'mistake') is one of VCC's consoles now?

Well, then Alex B. If you can do that in 'no time' with a preset, my next suggestion for you, Mr. Isaac Newton of the plugin world, is put that knowledge to marketing then. If SSD can take your garbage and spin it into gold, well then, who is the better of the bunch here? Nebula is dope technology and you don't want simpletons like me using it anyway.

In the end, you need to be able to reach the masses. Otherwise, you simply just end up being your own hype man, and come off sounding arrogant. I don't know him from a hole in the wall, but he's not the only one in the world with that kind of experience he is boasting. So basically, I will take his word like any others I don't know, with a grain of salt. But lemme spread the warning, SSD has tricked us all! They're selling code from alexb's recycle bin. Typical Nebula post.

We're so smart, you're so stupid. (Plec - this is totally not aimed at you obviously, just my two pennies on his read). Fabrice Gabriel (the coder of VCC) explained how he came up with the models - and he isn't using dynamic convolution. Attacking the guy's intentions and ethics (and he's one of the best formerly independent DSP developers out there) isn't cool. Tons of info on the Gearslutz threads direct from Fabrice, along with a bunch of before/after mix examples from users. The models will be further different because he's modelling crosstalk, hiss and other artifacts that will not be represented through convolution.

Whether you like them or not - let your ears decide. Nebula bashing can stop now please. It's really not that big of a deal to talk or compare either, since they both work entirely different.

Not to mention Nebula does a whole lot more than VCC and console emulation, but both tools seem awesome. Both are exciting steps in the right direction and I'd rather not take a 'side' and simply settle on choosing what I love. Regardless of the masses. That said, if I like something enough to point out why I like this over that, who gives a shit about how uncouth the designer is with their opinions.

Nebula fukkin rocks with AlexB and CDsounmaster stuff and so does VCC. Pick your poison, it's still not better than the real thing.

I know there's a lot of programs included and a lot available for a little money. In the beginning I need Nebula 3 Pro for these things so can someone give recommendations, rather free but non-free too: 1. Mic Pre/Console My Favorites: Modern Black Console Pro (AlexB) The Globe Console (CDSoundmaster) Modern White Console Pro (AlexB) It's not released yet but the Classic Logic Console Pro (from AlexB) will probably also be worth it.

Haven't tried the CDSM Trident yet but it's on my list, maybe this week. People also really seem to like AlexB's Tube console. Free: API 3124 (Nebula-Programs) BAE1073 (Nebula-Programs) There are some decent preamps in the commercial library too to play around with. Tape My Favorites: Reel2Reel Tape (CDSoundmaster) - must have for tape TapeBooster+ (CDSoundmaster) - must have for tape Free: Just buy R2R/TapeBooster+ it's worth it.

Reverb My Favorites: EMT 140 Plate (VNXT) Producer's Pack 2 Real Space Reverbs (CDSoundmaster) Free: Lex PCM91 (Nebula-Programs) The commercial PCM70 programs aren't bad either. Chorus Not sure I've tried a Nebula chorus effect. I don't use much chorus. Eq There are a lot of EQ choices now many of which I've never tried. My Favorites: Mammoth passive (Analoginthebox) Doc Fear (Analoginthebox) Retro Analog Studio Suite (CDSoundmaster) old 1073s and other vintage units People have said some pretty amazing things about two new EQs: the Fate (it's a 1073 original, not a clone) from Analoginthebox and I think it was the Focal Point 115HD from CDSoundmaster.

If I used more EQ I'd probably be checking those out too, some very good reviews. Free: BAE 1073 (Nebula-Programs) API 550b (Nebula-Programs) Both very good program sets honestly. Between consoles, whose do you like better - CD Soundmaster or AlexB? They're equally good, it's a matter of the sound you want. I could use a bunch of stupid adjectives to try to characterize the consoles as I hear them (Black - dark, Logic - punchy, White - light, Globe - silky) but that won't really tell you very much. Any of the consoles would be an excellent choice on virtually any material despite their differences, they're all very well sampled program sets. Yeah, Paypal will handle the conversion for you.

If you're leaning towards the Modern White (which was just released as Pro version and is very, very nice) I have to suggest you check out the CDSM Globe. I find myself going to the Sphere at times I used to reach for the White. Like I said any of the consoles listed would be a great 'all-rounder' but I think maybe I like the Globe best if I had to choose only one for the description you give of your style. Then again, I don't think you'd be disappointed with the White either. ETA I'm going to work on a mix which just contrasts the different console sounds, it's getting to be hard to choose blind. The Globe sounds good on paper but don't take it for granted. I almost always chose MBC over it when A/B on various sources while I mix.

It has to be specified that it softens the low frequencies and gives a more open sound. The AlexB consoles are very well organized, Michael gives you tons of presets which you will probably never use (Same goes with the eqs).

I much prefer the eqs from AnalogInTheBox because they are sampled at 44.1, thus loading a lot faster and are, generally easier on the cpu also, all that while the sound is on a par with everything else from other devs. The Globe sounds good on paper but don't take it for granted. I almost always chose MBC over it when A/B on various sources while I mix. It has to be specified that it softens the low frequencies and gives a more open sound. The AlexB consoles are very well organized, Michael gives you tons of presets which you will probably never use (Same goes with the eqs).

I much prefer the eqs from AnalogInTheBox because they are sampled at 44.1, thus loading a lot faster and are, generally easier on the cpu also, all that while the sound is on a par with everything else from other devs. The MBC and Globe are like night and day, totally utterly different sounds; maybe the material you're using them on is simply better suited to the MBC? Incidentally, the MBC gets far more use in my own work too but that's based on the material being mixed. If I did more jazz and classical, more folk and acoustic bluegrass it would probably be the other way around. Just curious about your material, for my work that is a big determining factor.

I don't know what you mean by 'softens the low frequencies' but the Globe probably has the best low end handling of any board emulation I've tried; for such a delicate creature (listening to the top end) you're not expecting the bottom end to be so rich. But I will chalk that up to word analogies about sound which, as I mentioned earlier, are not very helpful or easy to translate to one another. What you see as a disadvantage (the number of programs in an AlexB package versus a CDSoundmaster package) is a big advantage to some: instead of worrying about which instance of what went where you have basically four choices: input stage with and without EQ, output stage with and without EQ (in both cases EQ is engaged but flat for just a smidge more color) for maximum quality. If you're doing full console emus, especially if you're rendering offline, that's worth pointing out too.

I will have a console comparison summing test ready as soon as possible (I might be able to process it tonight depending on how things go). Listening to the differences are the only real way you're ever going to get an idea of what omu doesn't like versus what I do like about that unit. Finnish, The consoles are very subtle and the new LIBs are very CPU intensive so I found I had to change my mixing methods even with a poweful machine. I've set up some track templates with Tape and consoles adn basically go through my tracks and render them with the tape/console settings I like. I can then use various nebula EQ's and Reverbs live on my mixes.

Remember, most of these new LIBs requite you to use the Nebula Reverb version with the CNV rate set to 3000-9000. Also I work at 24/96k too so my machine is being hit hard anyway. Zabukowski, LOL I've now realised it's your tool:D One question though,what will your renderer give me that batch processing in Reaper won't? MC Hehe, no problem:) NRGUI is a nice front-end windows program for Nebula Renderer.

Nebula Renderer is very basic Nebula specialized off-line rendering command-line program written by Giancarlo (Nebula boss:)), so they can not really compete with the Reaper universal all-around batch file converter capabilities (which are btw excellent) If I really must expose something: very quick and efficient Nebula program searching/selecting (without actually loading Nebula), rendering preview - PRO version (ASIO powered) and template management (rendering configurations). NRGUI is free, NRGUI PRO requires a license. They can be downloaded from official Nebula forums (Tools subforum). Thanks for this.

I might be leaning back toward the Sphere. Anyone know anything about the new tube console from CDSoundmaster? Kyle I am on the fence about whether or not to buy that console. On one hand, I do like vintage sounds like that but it's a fairly colored unit (1950s tube so that probably goes without saying) and I already have a very good outboard unit that was designed by CDSoundmaster for a tube circuit (I've never bought CDSM's Tube Bender package either because it's actually a sample of the aforementioned unit).

That said I hate not having it and being able to add it to the console test. I originally had the Trident pegged as a console I 'didn't need' and I've never been happier about a console emulation purchase than I was with that one so.depending on how a few eBay deals go in the next couple days I may or may not add it. I can tell you that people are reporting that it sounds extremely nice (if you are looking for a vintage tube sound) and can be driven right into breakup the way you would expect a tube to break up. If you're currently looking at the Sphere or the API or the Neve 1950s tubes may not be the sound for you anyway. Gear from that era usually strikes me as pretty 'lo fi' compared to, say, a Neve or Sphere desk. But people are raving about it nonetheless.

@ MC, that's a nice studio, dude! I'm thinking of my first 3rd party library decision, it's either console or tape. What would you say, which one gives more impact on the sound, console or tape programs?

That R2R from cdsoundmaster looks wonderful, but it's a bit pricey? R2R is the bigger sonic impact compared to the console; it's also a wide palette of different sounds (lots of machines, lots of tapes). When you can you'll also eventually want to pick up the tapebooster+ set, that extra bit of saturation is really super sweet. When I started with R2R I said to myself 'Self - you are already very happy with the way R2R performs, you don't even need the Booster kit.' Then one day I got curious and purchased it and have come to learn how awesome it is.

But - and I know this is not really what you want to hear but here you go - what you really want is a console and the tape machines. The combination makes for a very nice signal path (or signal path emulation anyway).

For me that's where the magic is. You can't quite get the same results from the free preamp/console programs without a lot of tweaking.

Hmmm, can you be a bit more precise, please.? The consoles and tape machines are tuned to more or less react like their analog counterparts. There are several long and detailed threads on the Nebula forums which should be helpful, but this one sums up the implications of Michael's programs at least: This one (check out CDSoundmaster's post on page 2) AlexB's consoles are a little bit different, they use -18 dBFS = 0 VU. CDSoundmaster uses 0dBFS as the highest point in the sampling process. That's not necessarily a huge or drastic difference, you can very easily use -18 dBFS or -20 or K-system or whatever gain staging you're used to with Michael's consoles.

And by the way, do I have to use Nebula Reverb instance when making Apply FX, IIRC I've read something about that somewhere I always 100% of the time use Nebula Reverb instances; they are more accurate for many programs. Technically if the samples are short enough (time wise) I think you could use Nebula instances with the lower latency but I don't know enough about which programs that degrades and which it doesn't so I just use the Reverb instance to be safe. That said, there are people who use Nebula to some degree or another during live or tracking I guess, so maybe they have suggestions on how to maximize use of the Nebula instances. I decided to make it easier on myself: Nebula and tracking are like milk and meat. Personally I don't need those kinds of effects during tracking sessions anyway so it was an easy rule to implement in my work. Wow, I just installed Nebula3 (free) on my new computer and am amazed! I tried it years ago and was totally underwhelmed, but now I think I'm going to have to take the plunge and get the pro version.

Alexb Nebula Programs Running System

I remember hearing how its such a CPU hog, but with my i7 950 and GeForce GTS 450 I can run more instances than I could ever need. Maybe I'm just not using intensive programs, but each instance seems to use 0.5% cpu. The time based effects are great, but the EQ is what really sold me, there was one I downloaded from the free library called HiBell or something and its near perfect.

There's also a great 40hz high pass in the free library that when slapped across every track cleans things up very 'naturally'. I had considered buying a one of the Neve eqs for my UAD and maybe get a second card, but I think I'll just get Nebula3Pro instead and just sample the demos:) Can't wait to try the AlexB demos tonight! I think I'll just get Nebula3Pro instead and just sample the demos:) You don't need that:D I am (or I was?:D ) a UAD user as well (have all the Neve eqs) and the Fate eq from analog in the box is what I use now for Neve flavor. You have an incredible broad range of eqs to chose from, on the Nebula platform, and all of them would cost you the price of a UAD plugin. Just buy all the eqs from analog in the box (API550b, Neve1073, DW Fearn VT4 and Manley Massivo), I believe they offer them as a bundle at some crazy price.

Their libraries are at 44.1kHz which is perfect for mixing because you don't have to wait for conversion (which is the case when you use 96kHz sampled libraries) and are very light on the cpu. Also there are also some really nice free programs which you can find if you dig the acustica forum. I am hoping to find an area where I can read from various users of the CUDA based plugs on their realtime capabilities. I went to acustic Nebula forum and it seems as though it is closed, even though there are posts from boot salesmen, etc.

I have also read some rather negative posts that were copy/pasted everywhere, including here, where the poster just seemed to drop in, post results, then leave. So I am definately leary. Here's what I really need though. I currently use an XITE-1 for mixing and processing an entire group live.

It's a great unit and it allows me to route in Analog hardware synths, Fender PBass, Guitars, mic'd/triggered drum sub mixes and vocals. I also can send seperate IEM mixes to each performer. This is perfect for gigs where no stage monitors are allowed. But I still need to use hardware because so many plugs do not allow any overdriving and are a PITA as I get perfectly digital sound, but the effects clip, and give you the off or on sound which is not very useful for truly dynamic mixing. I am really trying to use less hardware, and the DSP effects are of such a good quality I have replaced all Gates, Reverbs and Delays. I need some plugs that allow to be overdriven and saturated in realtime before they go to their perfectly digital, boring clipped sound. Will Nebula or it's 3rd party plugs allow this in realtime.?

Money is not a problem, but I am quite tired of purchasing another ultimate plug in reviewed by ' expert ' engineers, that doesn't work as advertised. Any links to a Nebula forum where there are realtime examples and demos to try or listen to. Thanks So Much. It sure seemed like a great idea, I guess us guys using Native and DSP are really spoiled and don't realize it. I actually can run.07msec @ 96k/64 samples, but prefer to keep the extra DSP for making Modular patches, so 44.1k @ 1.5 msec.

W/ 64 samples is plenty fast. I can get the harmonic distortion I need in realtime with the SE-C2 Comp/Limiter.

It's a poor mans Urei 1176, but I just can't seem to find any virtual technology that allows overdriving like the hardware does. I will still buy a CUDA card just to try out the Phase Linear EQ's from LiquidSonics. I need a better graphics card anyways, my main app use to be in 2D but is now using some rendering where the modules are transluscent, so the 50 dollar PCI-e 16X leaves slight white outs. So I will probably but the Nebula 3 package anyways, as maybe I can use it to spice up during Post dub stages.