FTS It’s a modern digitally controlled analog device that offers many of the “musical non-linearities” exhibited by the older tube, class A discrete, and magnetic tape mediums. The unit has several compressor “types” with fixed attacks and releases. The unis has been enhanced for better sound characteristics.
“The GEQ-8300 (It is the 8200!) EQ For Nebula” consists of 15 programs: Narrow, Wide, Medium, and Shelf EQ’s, ‘console’ preamps, and more. Programs are sampled at 96kHz and are tested to retain accuracy at 44.1kHz and 48kHz sample rates with the latest version of Nebula3 Pro. This eq has become perhaps the most highly-acclaimed eq for mastering. It shares the rich history in design from the original sweep-tunable, parametric eq. Created as the ultimate mixing version from a legendary shared-design, it has truly become a favorite mastering eq the world over. Its origin is known to have begun in the early ’70’s as a design requiring no inductors or any signal-altering items in the path. Following its lineage from the ‘130’ to the ‘430’, to what is known as a variant ‘8000’ series today, this is the ultimate no-compromise eq.
“MMP For Nebula” consists of 120 programs: This Nebula release proudly recreates the high-points of the now discontinued MMP-2 in a more advanced VVKT format with 120 incredible programs! These programs focus upon the mixer channel/microphone preamp emulations, tube and solid state emulations, and instrument preset programs that combine harmonics with eq recommended for recording anything from vocals to trumpets, viola to nylon guitar. Programs are sampled at 96kHz and are tested to retain accuracy at 44.1kHz and 48kHz sample rates with the latest version of Nebula3 Pro. Programs are fully organized and categorized for easiest use in Nebula3.
The Tascam 122 mkIII deck was used, along with 14 tapes, to create this set. Some tapes were sampled two or three times, at slightly different speeds and with different noise reduction settings (B, C, and none). Most of the tapes are/were highly regarded among cassette enthusiasts (they’re still out there!). There are type I, II, and metal type IV tapes. The deck has a rich history and is very well known for it’s reliability and performance.
Cassette tape + reverb. Various sources of reverb/delay effects were fused with the tone qualities of the cassette format. These are custom made. When a reverb unit (or software) was used that allowed fine tuning of the effect, it was adjusted to taste. When reverb sources were used that did not allow for any control, they were used in tricky ways, and often had their character manipulated by various other tone shaping tools. Feedback loops with the tape in the path were sometimes used to enhance the effect of the tape, and help bring all of the verb/delay elements together. The main idea of the tape was to smooth out, and give some ‘analog’ qualities to the otherwise digitally sourced/created reverbs.
Sampled with ‘Prismsound Orpheus’ precision you will not be disappointed. Provided in 192 khz, 96 khz and 44.1 khz. 18 presets. Library size is 430 MB. 10 distortion kernels. Please note that these require a fully licensed Nebula Pro license to enjoy. A simple bass T100BX amp to give you a bit of space to your low end. It may need a bass boost with an EQ as there is a roll off in the deep end that will thin your bass somewhat if you are looking for deep notes.
This sampling is part of the Microphone Locker Series – a series that allows you to add the sonics of highly desired microphones. This particular microphone is a Classic. It has a beautiful high mid range that can bring vocals, strings and anything acoustic forward in the mix in a pleasant way. I have included 4 distances with this microphone. Pair this with any of my preamps to give a new texture to your files.
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