Does the artifacts happens along with the cpu spikes? Or just crackles with optimal cpu activity while you playback in your StudioOne's project? If the crackles happens when the cpu meter works optimally, this means there's a driver-related problem of your soundcard. I had such a problem with a secondary soundcard "Scarlett 2i2" which had no crackles while i was listening to music on player software/youtube etc., but had alot of random crackles while playbacking in my Studio One DAW sounding similar to the crackles you'd get by CPU spikes, so when i sent it back to the store, they replaced it for me and when i checked the new one the problem was gone, but mainly i use a Focusrite Forte though. But i'm not sure why you get that crackles untill you gave us more details/aspects of your problem.

 

Thanks for the reply! The problem is related only with Nebula 3 Pro. Otherwise both Live and Studio One are cool with shitloads of vsts on 30+ channels with perfect sound. My interface is a EMU 0404USB with the beta win7 drivers. I know this alone could cause the problems but with a 10ms buffer, I can run both daws easily at 88.2 khz - though normally I work in 48khz.

The sound I get from Nebula is the one fucked up, especially the H.Olonga and STN libraries which I love. The cpu doesn't die on me either, it stays at 30-35% in Studio One even if I'm in 10 timed kernels, with 5ms or more each. I tried playing with the attack release settings, timed vs freqd and the ms of clean, odd and even kernels with little success. What seems to clean a bit the output is the liquidity function, but as you know, this is not exactly an option if trying to replicate the real thing.
It's really frustrating as I worked some time ago on a less powerful system with Nebula and the sound was flawless so I know what it can do. Before I ditch the interface, I want to rule out the possibility of a wrong setting somewhere - either in Nebula or the asio stuff - that's why I asked for safe and working xmls and/or any (asio) tips you might have.

 

Well, my XML file have modified only the LTIMED to 100000. I have Win7 64bit with Nebula Server x64 v1.3 505 , Studio One Pro 2.6 so i don't understand why your Nebula3 doesn't working. My Nebula Reverb in the Master Page i set only the buffersize to 2048 samples.
About Timed Kernels mode, don't mess with the Odd value and if the program is a tape/preamp sample then don't mess with the attack and release either, even the developer warns you about it. But even if you instance is crackling with default settings, then i really don't understand why it makes you problems on such a powerful CPU, because it's not normal.

 

All the recent spam of nebula expansions and presets made me wanna try it out.

You never know the light until you follow it.

What would be the "YOU NEED" Expansions or the most appealing.

 

For Mixing:
AlexB Modern Logic Console (SSL 9000K)
Germanos EQs (Neumann W492, Telefunken W695, TAB W95c, Siemens W295b)
AlexB Vintage 73EQ or AITB Fate EQ (Neve 1073).
AlexB MPEQ (Moog MKPE, nice for basses)
MWeq (Neve Portico RND 5033)
STN DME 1968 FET/Tube (Drawmer 1968 compressor)
ModernWhiteDynamics (Neve Portico RND 5043)

For Mastering/Buses:
STN Nag Tape (Nagra T-Audio)
AITB Mammoth EQ (Manley Massive Passive)
AlexB 4KD Dynamics (SSL 4000E Gcomp)
AlexB BlackMaster EQ (API 5500)

 

Thanks! I will try those for now.

 

Ok, so I reinstalled all drivers and Nebula. With your settings except the buffer which I keep lower I can now run Nebula the reverb version fine. It still slightly distorts in the default nonreverb version, and with some STN and Olonga libraries in both. But at least I'm happy I can use AlexB stuff. Quite strange but thanks, Evorax!

 

If you buy the latest version of Nebula, do the libraries from Audioz work with it?

 

Yes, because the important thing is to have the commercial pro version of Nebula.

 

Thank you for the GREAT explanation , also nebula 4 2015 with 64 bit OSX AU support. also nebula 4 comes to new GUI design ( aqua style )

 

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Reply to a message that is 7 years old this exact day

 

Woha nice find & years ago on the 7th February ... magic happens now

 

Thought you noticed that! Hahaha

Well, I guess we can let this old af thread go back to sleep now

 

For those in the know..

In order to sell a proper IR of the real hardware

Sampling a console

1. test tone using only analog gear recorded to 2" Tape
2. capture that tone at 192 khz ( most users have access to this)
3. Deconvolve that tone into an IR file

What I discovered...

Sample noise from Multi track stems ( from WAV or FLAC) from the master bus
This way you can sample the whole output, invidual tracks if you wish

The trick to this is finding Multi Stem tracks that have at least 5-10 ms of playback noise before the tracks start.
With this you can sample the IR right from the stems themselves internally without going out to more AD_DA steps.

For example this way if the stems were recorded/ mixed in an SSL 4000 G you do not want the wet tracks, you want the stems as dry as possible so the IR only gets the IR from the console and not the outboard gear.

This is why you sample only the playback noise before the tracks start.

Since tracks were recorded to 2" 24 track tape even if they were processed we do not care as we are only sampling the PLAYBACK heads sound with is the sound of the Tape Master heads added along with the noise from the pregap tape play which includes the Console channel noise before the tracks start playing

You add these IR samples to your master bus and now have the IR sample applied to all the tracks at once.
You could also apply it to individual tracks if you wish.

 

Does that also capture the transient response ? or just the "tone" ?

 

Say you have a Harrison Console that was used to output 24 tracks to a master tape ( Final Master Mix to 2" Tape)
If the Stutter ( mostly used in Studios) Tape deck was set to record and you did not play the tracks from the other 2 " 24 track tape the noise would be captured by the second and Final Master Tape. This includes the tape floor noise from the playback 2" reel running through the console.

Maybe in the future this can be turned into a plugin that can sample Master tape reels ( some of which is what Waves is doing charging stupid prices for an IR sample) and with Neural CPU networks can look into the Floor noise and sample it more accurately than just a Sine Wave IR.

The benefit of this IR at the end of the Master effects chain is any protection added to the final mix by some plugins ( we know they are doing this already) will be eliminated.

This IR unlike what most think will do does not destroy your final mix, it is actually just adding the harmonic noise of the Master track which includes the Playback tape floor noise passing through the Console master bus.
If all the tracks on the Playback 2" reel have their faders at Parity this would add noise from all the 24 faders and Engineers know not to do this as it would add pregap noise to the Master 2" tape and for CD production houses would be a No No.

This works, it's FREE and can be sampled right inside your Daw using only 3 tracks.

1.The sample section track ( must cut that section out and replicate it for the full sine wave sample playback)
2. The track with the Sine wave
3. One track receiving the Sine wave and the Sample track

In reaper the 3rd track can be set to record what it hears so only those tracks are needed.
After you have the Sample mixed with the Sine Wave track, export that track out and bring into your IR Deconvolver application to make the IR file.

This will make an IR that will get the tone of the console+ tape not the tracks themselves or Transient impulses at full volume parity. This is not a plugin so there are no settings, its limited but my intention was to get the final mix tone 5 years ago...

 

I am waiting for the server software to be rebuilt. It was a huge loss when the company rebuilt to the newer technology. Modula, on the other hand, is very forward thinking and very interesting