Recently I have downloaded some of the Henry Olonga Stuff for Nebula.
But I have few queries ...

Q.1 I use REAPER at 48 kHz (sample rate). What presets should I use from the Library? The available ones are - 44, 96 and 192 kHz.

Q.2 What difference will it make if I use higher sample rate presets? (96 or 192kHz)

Q.3 How to use two libraries in Nebula on a same track? Should I load the Nebula twice?

 

@ Mix_to_Master,


Q1 : I would choose 96 kHz. You should notice that 'Nebula 3' adjust (automatically) the 'Sampling Rate' to 48 kHz (Pay attention at the Screen of Nebula 3, just below the Name of the Preset), you should notice here the 'Sampling Rate' conversion done... *yes*

Q2 : My answer to the 'Q1' should answer your 'Q2'... *yes*

Q3 : Yes, exactly ! Simply load as many instances of 'Nebula 3' you need to a particular Track (as well as your Computer CPU Resources can handle !). *yes*

 

1- why are you using 48hz sample rate in Reaper ?

2- you should check sample rate on www ( google is your friend…) *yes*

3 - yes on nebula for one program. So if you need several process = several nebula for each process.

cheers

 

There is only two sample rates available for my REAPER. 44.1 and 48kHz.

 

Ok, but why in 48 khz ? For Classical, Jazz, music &/or Video /show ?
if not, let me tell you don't bother you with 48khz really. The differences between 44.1 and 48 in terms of rock or pop music are a complete wash IMO.
Thats why I've asked you that.

__________________

 

You can choose your mixing (press alt+enter) and rendering (export dialog box) SRs in Reaper. I can choose from 8-192khz. Do yumena your sound card SR?

 

Not knowing the difference between "sound" frequencies (of which the number represents the amount of times a single wave completes a cycle within a second) and "sample-rate" frequencies (how many times a given sound is sampled within a second) is worrying!
The frequencies range human hearing is capable of has nothing whatsoever to do with sample rate.

 

I am into Nebula stuff now and loving it so far. Though the changes are very subtle, but I really like the colouration it adds to the signal!

I have some questions regarding Nebula in my workflow...

I use REAPER for my recordings, bounce the tracks in wav. format to Pro Tools for mixing.

Q1. What are the best settings to export in wav. format in REAPER? (The default settings?)

Q2. I don't want to run Nebula in Pro Tools coz of CPU usage (I know it's a VST plugin ), would it be fine to export the "Nebula Added" tracks? and then use that "Nebula Added" tracks for mixing in Pro tools. Since Nebula doesn't add some disastrous changes in the mix, I guess there would be no problem. (When I say "Nebula added" tracks, assume that I am using the libraries which only adds colouration and saturation.)

Q3. I have asked this question in my previous post but just want to confirm it again. My audio interface has two available sample rates, 44.1 kHz and 48 kHz. it's set to 48 kHz. The nebula libraries I have has 3 sample rates 44, 96 and 192 kHz. What sample rate should I use? :dancing:

 

Q.1 = depends your needs in fact … For a session in 44 so export in 44 for a session in 92 export in 92. Try to keep at least 24 bits
then when you render the entire track for Cd/mp3 convert it in 16 bits ( of course always in 44 with such operations)

Q.2 = Well As you may know, Nebula is making your workflow different as usual, until the developer find better ways to make it more "intuitive" . Except if you have a beast of machine with great CPU, loads of RAM, great Video card and so one...

So yes, you need to render the track to not spike your cpu . Some DAW gives you the ability to freeze or to bounce in place.

But there is also a new developer who had the great idea to code 2 news tools to help managing this case, but not only.
The first program is Nebulaman & the 2nd Nebula Setup. Check these cool tools, they can make your life better with Nebula, if i can say.

Q.3 = Again depends your needs. But if it just to mix pop, rock, electro, inde stuff, stay in 44. 'cause difference between 44 & 48 is just too little.
Plus the conversion from 48 to 44 is always tricky than 96 to 44.

Cheers

 

Thanks man!!

 

q1) Stay at the same samplerate of your project, and use 32bit floating point, or if you really have to 24bit. DAWs work internally in floating point (and vst plugins), this way you don't throw away bits when bouncing. It's only a guideline though.

q2) Of course it depends on what programs you use in nebula. If you use it only (like most) for preamp/console/tape saturation before you start mixing, then yes. That's what a lot of people do. Take all your tracks, run them all through a set of nebula instances (for example -> preamp -> console line -> tape -> console line) and bounce / render / batch-render those tracks. then you start a new project with those 'nebulized' files to start your mixing. And yes, that can be in another DAW since it are plain .wav files with the effect already on them.

q3) doesn't matter much. I advise (just as the others did) to stick with 44.1. Most libraries have a 44.1 preset, and for most music it's your intended output target anyway.
The samplerate of a nebula-program is that samplerate of the captured effect. If you select a different samplerate than your project, the nebula effect gets converted to your samplerate before being applied. So it's not destructive to your signal. But if you can prevent conversion (like staying in 44.1khz!) do it.
If you're going to stay at 48khz (and you must pick 44.1 or 96khz nebula programs) make sure in the 'MAST' page in Nebula (set to guru mode) you have the paramter 'rate cnv', set it as high as it can go. It's the limit to how long it will 'convert' nebula programs to your samplerate, and by default set a bit too short so not every program will convert well.
But - summarized again - stay in 44.1khz and you don't have to think about any of this.


For example, I have a few of Henry Olonga's programs that he calls 'mojo' programs. There he captured gear while being unity gain and no effect applied. That means he captures the 'line amp' of the 1176 and of the Pultec EQ for instance. So not the EQ or compression effect, only the 'analog touch' the device adds. I add those two flavours to every track which I render before hand.
Then during mixing, I use a regular 'normal' 1176 plugin (like T-Racks) and Pultec EQ (like T-racks in my case) to do the actual mixing. There is already some extra colouration in the files from the nebula programs, which makes the T-racks VST plugins just that subtle bit more real.

So _every_ track I end up using goes through: preamp, console line in, tape, tape boost, vtm-m2 (tape compression + distortion), console line in again, One176 Mojo, Pultec Mojo. I render that to separate wav files, and only then do I start mixing in a new project. This closely emulates the signal chain of an old analog studio.

This is just an example, you can use any chain you like as long as it sounds ok to you :P.

 

Thank you so much!

 

Also make sure to check out the Nebula Server Bundle thread on AudioZ where I have provided some resources to help you get started. There's also a tutorial that hopefully we will get soon called Nebula Explained, that would be beneficial to you so check it out.