Great job as always Max!
Also wanted to thank you for the gui work you did on the laster Pulsar Modular release, 10/10

Thank you!
I'll keep taking care of Nebula beauty, at least as long as it makes sense)

Great job with the whole lot of 4K library skins, ceejay!

I've just got around to organizing/installing all skins/setups for the entire 4K series. All went smooth, except for the black and brown EQ's.

I get the "One or more programs are missing" notification, which prevents me from creating the necessary setups.

I have the latest updated versions of Alex B's Black and Brown EQ's from last August installed on my system.

I've tried reinstalling the EQ libraries from scratch, and then your skins, but I still run into the same issue. Any ideas?


Win 11,
N4.5 (2.5.0) UAE 1.4.623
VST3


Best,

JP

Thanks!
This error may happen due to some internal Nebula Finder system incompatibilities between PC and Mac.
Common workaround described at the last page of the skin installation PDF manual:
1) Skip the "programs missing" message by pressing
OK
2) Choose your plugin format checkbox and press
SAVE
3) Copy contents from my (skin zip) Setups folder to
your N4 location Setups folder overwriting the files
4) Use plugin in your DAW, after rescan new plugins.

Hope it will help.
Anyway don't hesitate to contact me via PM if needed, not to flood the thread.

Thanks ceejay! This helped.

Classic case of I should have RTFM here . The manual reminded me to trash the TEMP folder, which has inherently solved the issue.

Thanks again for immortalizing the whole 4K series. Your new G buss skins look fantastic!

The newest Pulsar tape GUI reminds me of a tape gui Max did for for I think the J37 in terms of how the tape moves.

so cool !

Hey all, I'm doing a fresh install of Windows and I'm trying to find 2 of my TimP reverbs (Mini 86/89 verb, VB Plate) in my finder. Not sure where they are.

I double checked the vectors ect are definitely in the right folders.

Reverb (REV) > MIN (MIN) for Mini 86/89.

One of my favourite reverbs.

Don't know about VB plate.

Awesome thank you.

Tim P's 140 is out-of-this-world good

does anyone know if any nebula or Acustica plugin models the Focusrite Red compressor? i.e. cla mixbus comp after his ssl bus comp.

Well idk about Red but Tr*kmaster is his Focusrite library

Pretty sure tim P has one

track master? in who's library Tim p? or cla? lol - thanks for answer though )))

I don't think TimP focusrite is the red comp judging by the guI...

I've not tried it, only because I have Plates of Legend. Not sure if I have the volume with a 140 though, so maybe I'll pick up VB plate.

I am looking to try a spring reverb from Tim P though, I want to try another of his verbs. Any suggestions for something super drippy? I don't see many or any audio examples on a lot of Tim P's libraries..

Okay, here it goes.. lol

This Alex B 4k AI stuff is the raddest sht ever.. Let me say this.. If Nebula cost $2,000 and the only thing it could run was the $50, 4k Console AI Ultimate, I’d drop $2,050 and get both immediately just for the 4k rails. The entire 4k AI experience with the brown & black eqs, the console, the G bus & ch dynamics.. its insane how it all gels together. I do mostly VSTi synth music so I’m always at 96k so I don’t know how much it makes a difference compared to 44, but the sht sounds like Depeche Mode’s Violator album over here, especially at <DSPBUFFER> 8192 </DSPBUFFER> on 4k eq and console.

Braindead easy for electronic/rock post punk.. Synth leads/pads, vocals, guitars, all hats/cymbals/overheads BROWN. Drum machine kick n snares, real kick n snare, subs and bass guitar n synth basses are BLACK. But with the beauty of Nebula, you can make the dream bass guitar, or synth bass channel with black low shelf for tightness & accuracy in chain and then a brown up at mid for more character. Same with snare, you got 120hz +2db black and then for the top end crack have a brown. Ridiculous how good and effortless it all sounds man. I got the Timp Blue 1102 for real snares also.. crazy how it puts that 84 crack on it.

Here’s what I’m doing thats working really good. Browns & Blacks across all channels. Blacks on busses and 2bus only when and if needed. Then, most busses have P440 Sweetspot. The P440 turns the Alex B 4k experience into an absolute monster. First off, the P440s tremor and O2 & Soul functions essentially turns the Alex B 4k experience into the 9k experience because now you’ve got 4k balls and voltage rail compaction going on, but with 9k bass extension and ridiculously soaring & silky 9k highs.. And all I’m mixing with is the 4k experience and Weiss MP (M/S control/tricks) down on channels.. So everything thats hitting the P440 sounds like black & brown SSL honey and the P440 is perfectly tightening up the black low end & with its tremor function, extending it way down to modern 9k-ville and beyond. Same with P440 O2 & Soul, they’re not lifting up a bunch of normal, VST 2-D trash, they’re pulling up 4k Alex B magic, so the highs are like I mean.. as SSL pop as pop gets if you want it. You get all the musical nature & analog saturation of brown and the tighter control of black with the 4k input & console compacting voltage rails.. but now with a 9k, modern feel to the top & bottom when and where you want it. Its like a magical, SSL 10000..


I use the Weiss MP EQ at the end of my synth chains, after 4K Browns, comps, rails, etc. This allows me to stack synths like pancakes in the stereo field before they even hit the bus, giving me more control over the separation of sources as the synth bus squeezes everything down. The thing with the Weiss code is, it’s not that the Weiss is 'better' than any other EQ; but if someone was going to cut some 4k out of a professional recording of a $9 million dollar Stradivarius violin, the Weiss and MDWEQ6 would be the first two ITB eqs most pros would think of using for that unique purpose because they do this effortlessly and stay out of the way. The key here is that the Weiss MP EQ isn't necessarily better or worse than other EQs when operating normally—its that the Weiss excels at not touching the sound of what's passing through it, even at extreme settings like those used in drastic, M/S shelving separation tricks. It retains all the character & analog tone of the 4K EQs, the 4K console rails saturation & compaction and the overall vibe of the chain. It gives me precise control over separation in electronic music, where you’re stacking stereo synths and dealing with constant masking & placement issues. For this unique purpose, the Weiss code is arguably the best tool for the job on earth. Ironically, something it wasn't originally even built to do.

This is where I’m at with this sht..

NEBULA 4.5 *
P440 SWEETSPOT
WEISS MP
DSEQ3
P42 CLIMAX (beginning of chains and at end of busses summing)
GOLD CLIP
P422 Fairuz
Make Believe Studios - Parallel Processors (based on SSL 4k, faster to setup and sound great) & Kevin’s limiter
Voxengo TEOTE
Voxengo Elephant

* Alex B 4k AI Ultimate everything and American 5A & B. Timp - Sta, Opto 32, Ra6 and Blue 1102.

EDIT day later.. Forgot to add I also use P455 MDN Sidecar & P11 Abyss.


Mixwise, nothing else is needed man.. I could easily mix down Depeche Mode’s Violator album with just those plugins. Modern stuff like Daft Punk, M83, Postal Service, Future Sound of London.. even Chromatics, or Goth/Industrial rock to EDM, hiphop, pop.. forget it.. it's like shooting fish in a barrel. For me, the entire 4k AI library with P440 on busses and 2 bus is the best thing going on ITB right now and it's not even close.

Another tip for synth people.. Brown is where it's at man and always has been since the 80s. If you just have P42 Climax > 4k AI browns its on blast. Brown eqs and some killer preamps is basically all you need for KILLER synths. And because of the nature of the Weiss code, it has no sound of its own.. So if you want to pull up some narrow 1k on a synth to help it stick out a little more, the Weiss MP basically becomes a modern extension of the Alex B Brown AI eq so its synthesizer paradise when mixing. Still don't forget, if its a synth bass or a Joy Division/Cure bass guitar, prob good idea to use the Black for the lows in chain and brown higher if you want to make that bass a little more vibey. Otherwise keep your basses black.

Take it easy

I have all the 4K Ultimate plugs but have a question on the stacking. For the 4K series on channel and busses, are you stacking the instances in this order?

4K Console
4K Black or Brown EQ (however many instances needed)
4K Channel Dynamics
4K Line Out?

I also have his AM88RS channel and bus console instances but was on the fence as to if that's even needed since I already have the channel/bus/and master sections covered with the above.

I have two vintage racked 4KE channel strip hw units, two Neve 551 500 series EQs, the LTL Silver Bullet MK1 for the N amp, and an SSL G-Comp hw on the master bus.

At the moment I was a bit on the wall of how I should divide the above hardware along with the 4K/88RS plugins in a typical hip-hop/dance/movie trailer session between 24-48 tracks.

I did shoot out the 4K AI plugs against the vintage hardware and it's so close the difference is pretty small to me.

That’s exactly how I stack the instances. I was wondering if other people have them set up differently but for me it works awesomely.

I’m liking the 4k line amp. I run it post fader in reaper and slam into some red.

I have hardware ssl that I reserve for the mixbus and lead vocals. But everything else is groovy.

I wouldnt call Daft Punk, M83, Postal Service, and FSOL modern, but yah, your right either way. For the most part, if you have good monitoring and know what you are doing, you can mix a record with DAW plugins even. It may not be as fun, but its possible.

I would say that actual "modern" music can benefit from a few more tools, but its all really subjective when it comes down to it.

This is my 2-bus chain for electronic music:

→ 4K Console Input
→ 4K Black EQs (optional)
→ TEOTE (optional)
→ P440 Sweetspot – HPF set to 35–40 Hz, RES at default for clean primary low-end shaping
→ 4K G Bus Compressor
→ 4K Console G Bus
→ Ra6 or Kevin’s Limiter (optional)
→ P42 Mono
→ P42 ST
→ Gold Clip
→ DSEQ3 – post-clip resonance cleanup
→ 4K Console Mix Bus
→ P440 Sweetspot – HPF (only) fixed at 7.83 Hz, RES reduced to subtly contour 20–30 Hz without overlapping the earlier P440 phase
→ Elephant – final brickwall limiter

Synth, bass, and drum buses etc don’t need nearly this much processing, but whatever I’m running, the topology remains the same.


* Oh sht I see you asked about channels also.. I'm too tired now to get into all that. Maybe post tomorrow.

I think Focusrite Red comp is the Acqua Zaffre comp.

Zaffree is focusrite blue

yea Theres a list of aa plugs and zaffre is indeed the blue. blue mastering eq and comp.

Waves CLA Mixdown comp 2 is the Focusrite Red. Only other I know of is Slate. Would LOVE a Nebula sample of this.

i could have sworn theres one in nebula, but i must be confusing it with tim p's other focus comp

Something red at STN crossed my mind, but Rite Red One is a preamp and not compressor.

I'd love to know if it was the preamp or compressor I heard a kick drum through live at my Uni and it was the best rock & roll drums I've ever heard live.
I'd asked the sound guy about the kick and he beamed a big smile and pointed straight at a red rack unit.

I think Henry O may have the Mojo for it in the All You Can Eat.

Just popping in to sing praises to the Tims.
I've been worn out by Acustica, their constant new products, the ones I have not working properly (LEMON), and some of that has spilled over into Nebula where I'm hesitant to deal with the format.
However I returned today to work on a solo sax piece, using the first thing that made me fall in love with Nebula: reverbs!
First I used Cup's Chamber of Doom to place the sax in a room. So easy, so real.
Then I tried my go-to for a "sexy" reverb: CX20. Wonderful. For the heck of it I tried Plates of Legend 1: even better, less springy, lush in a darker way.
THEN I saw I had TimP's Real Spaces I had purchased a long time ago but never setup. Was tempted by the tunnels and bridges (Sonny Rollins?). But the winner was the Church Pillars, with a little pre delay. Felt perfect, instantly. Set low like a chamber on a classical recording, it gave me just the right amount of tickle on the sides, complimenting the sax like an accompanist.
I could have used any of these and been very happy. I wish I could use all of them at once!
Run, don't walk, to the Tim's reverbs.