Echo Chambers 4 NEBULA

Team ARCADiA | 08 January 2026 | 363.86 MB

This one includes multiple captures of a make-shift echo chamber in a stairwell and a live room at a recording studio, as well as a tiled bathroom and a concrete basement in a completely separate building (the house from EC3). For the stairwell, captures were taken with the speaker at the top and the mic at the bottom, and in the opposite setup. Two more had the speaker in an adjoining live room; one with the speaker further in the room, and one with it closer to the stairwell (where the mic was placed). All of these were done with a stereo mic setup.

Hardwood-Floored Rooms NEBULA

Team ARCADiA | 07 January 2026 | 559.85 MB

This entry in my Real Spaces series includes some rooms from a completely empty house, with hardwood floors throughout. Two bedrooms of similar dimensions were sampled as make-shift echo chambers. Two different (and different sounding) mics were used in each, with mic#2 being placed in the closet of each room. This created four different room reverbs for use in Nebula. There are also two different stereo combo programs which combine the samples in different ways to make the stereo effect. The first uses both mics, as the rooms were actually sampled. The second combines both rooms for each mic (so you’re actually hearing one room in the left channel, and the separately sampled other room in the right).

Vintage 73eQ PRO For Nebula

Team MAGNETRiXX | 24 February 2014 | 139 MB

The vintage fatty sound

First launched in 1970, the 1073 modules have established themselves as one of the most sought after mic pres in the history of recording. The module features a Class A amp with 3 bands of creamy Eq. Get the real vintage sound, with St.Ives/Marinair transformers and Motorola power transistor… Not a modern reissue or a clone with cheap electronic components… The legend lives on !

Chambers of Doom NEBULA

Team ARCADiA | 06 January 2026 | 800.62 MB

An echo chamber is a reverberant real space, which is used to add reverb to any audio signal. This is done by playing the signal into the space through a speaker, and picking up the audio from that space with at least one microphone. The speaker/mic are usually arranged such that very little signal can travel directly between them, with the sound waves having to bounce off of the walls (becoming diffuse) at least once before reaching the mic(s). In other words, mostly just the reverberation of the space itself is captured. This new, reverb heavy aka “wet” signal can then be mixed back in with the original dry audio to taste. In this release, two more echo chambers at two additional studios were sampled for use with Nebula in this library. I’m giving them unique preset names to help you differentiate between them. The first one in this release is called “Sandman’s Den” and it has a gloriously big, smooth sound to it. The chamber is about 14 x 16 feet with an 8 foot high ceiling. It has a concrete floor, with concrete block walls. It was sampled with the door into the room both closed and open, open providing slightly less density and quicker decay. This incredible chamber was captured with a stereo mic setup.

Chambers of Myth NEBULA

Team ARCADiA | 06 January 2026 | 814.57 MB

An echo chamber is a reverberant real space, which is used to add reverb (not distinct ‘echoes’) to any audio signal. This is done by playing the signal into the space through a speaker, and picking up the audio from that space with at least one microphone. The speaker/mic are usually arranged such that very little signal can travel directly between them, with the sound waves having to bounce off of the walls (becoming diffuse) at least once before reaching the mic(s). In other words, mostly just the reverberation of the space itself is captured. This new, reverb heavy aka “wet” signal can then be mixed back in with the original dry audio to taste.

Depth-Xpander & JVC

Team ARCADiA | 06 January 2026 | 670.51 MB

Two tube-driven spring reverb units were extensively sampled for this library. The first has a degree of notoriety (I’m calling it “Depth Xpander”) and was marketed for use in home stereo systems, and people even had them in their cars, to apply some reverb to the music they played on their system. It’s mono and is said to have been used by King Tubby in his dub mixes. The unit itself is really just a tube amp for driving a spring tank. The second unit (a JVC Nivico) was aimed at the same market, but actually contains the springs inside the case, with the tube amp. This one is stereo. The Depth Xpander has the main reverb, and 4 ‘bionic’ reverbs, which were made using a sampling technique I’ve been using for years now- playing/recording the sampling tones at faster and slower, which results in shorter or longer reverbs, with their frequency responses shifted up or down. The JVC has 3 very similar versions of its main reverb, and 5 bionic ones. I also sampled it in combination (running into) with some eurorack synthesizer modules, including lots of interesting filters (filter banks, formant filters, low passes, etc) and some other modules. There were 8 modular patches, which produced 8 more reverbs. Some of the JVC bionic and +modular reverbs are actually in mono- that’s how they were sampled.

CX20 Spring Reverb NEBULA

Team ARCADiA | 04 January 2026 | 1.66 GB

The meticulously sampled and reproduced damper control ensures that you will have the smooth and natural dampening effect you would have with the hardware, and lush stereo reverb for days. As with many of my reverbs, this one is more complex by design compared to typical Nebula reverb programs (having a sampled control inside a reverb instantly makes everything more complex), so you’re going to want a fairly recent CPU and decent amount of RAM to get the best out of these programs. There is also a bonus reverb which used a sampling process I came up with that I usually refer to as ‘bionic’. The sampling tones are ran through the hardware at faster and slower speeds than normal, giving higher and lower pitched frequency responses than normal, and also faster and slower reverb reactions. 3 different speeds were used to create these 3 alternate ‘what if’ reverbs and they are all contained inside one program, allowing you to select whichever one you want without having to load another program to hear the next one. Try these out if you ever want something a little different from the main program!