Update- Tube Radios Direct REVAMPED
I will be sending out links to the newly updated files by email soon. Here are all of the updates to Tube Radios Direct-
*added new ‘hot’ programs which allow you to get much louder distortion than ever before. i’ll stake my reputation that few if any Nebula programs out there can do anything like this level of distortion, without becoming nasty. these programs do not have the infamous ‘chirp’ that has plagued Nebula for ages, when driven too hot. of course, whether these distortions sound ‘good’ will depend on what you’re processing, as with any distortion. but they absolutely can be made to do heavy distortion and still sound great. this is the biggest and most important update. when i originally sampled these radios (about 13 years ago) i got a range of dynamics sampled, from queiter levels without much distortion, to much higher levels with lots of harmonics. those higher levels could never be reproduced until now.
*the tube compression aspect of the sound (caused by tube saturation when the radios were driven hot) was stripped out of the main tone programs. the tone programs still react dynamically- the frequency response usually slightly changes as a program is driven hotter, and the harmonics also respond dynamically. the actual compression has now been moved over to a separate batch of programs (with their own skin for selecting them!) that only do the compression- your tone is completely unaffected by them. doing it this way is better for many reasons-
1) having both the tone and compression combined in one program doesn’t allow instant reaction due to limitations with nebula. so we couldn’t have the realistic instant squishing effect a radio would do.
2) this also allows you to use the tube compression without a tone program, opening up new possible uses. on default loading they provide instant squishing like the radios would, but i added an attack and release control (modeled from one of my compressor releases), which when adjusted allow you to use these programs in any situation where you need compression. each of the many compression programs has a different knee, so they all react differently.
3) you could also do the opposite and use the tone programs for radio filtering or distortion, but without the compression. or if you do also use compression, you can adjust exactly how much you have, without it being tied to the amount of distortion you get from the tone program (as it was in the past).
*if you want the hot distortion, you probably will need to use a compressor instance before the tone instance, to reduce the dynamic range at least a little, and to catch any loud peaks. you can experiment though and do it however you like! sometimes the compressor sounds best after the tone instance, to my ears. if you’re going for distortion though it usually is best for the input to not have lots of dynamics. you’ll get a feel for exactly how much is ‘too much’ on your own.
*added a new control to the tone programs-
f1 mode – switches between 3 modes for the fundamental element of the effect-
1) the default setting = ‘1’ and gives you the normal result, which is the sampled radio tone. this is the effect on the frequency response and it does react dynamically. it’s usually various levels of filtering to the low and high frequencies, but a few programs are almost flat, while still doing ‘something’ to your sound.
2) a setting of ‘2’ bypasses the sampled fundamental and just passes your dry input to the output. this is actually a really awesome option and i’m amazed i hadn’t thought of it years ago! what makes this useful is that you turned off the radio filtering, but still get the saturation/distortion. this can be used with the normal programs for subtle harmonic enhancement, or with the hot ones for loud overdrive distortion, without the filtering!
3) setting = ‘0’ mutes the fundamental altogether, meaning all you get is the distortion! the main part of the sound has been removed! this is usually pretty weird sounding and would rarely be useful, but it’s neat so i included it as an option.
*added another new control to the tone programs-
THD mode – this switches between different modes for the harmonic distortion portion of the effect.
1) default setting of ‘1’ again gives the normal sampled harmonics, which are lower in level and provide a subtle tube enhancement of the signal.
2) settings of 2 through 5 are the four different ‘overdrive’ modes. they give you heavy distortion, and each of them usually gives a different harmonic profile, and different sounding results. these settings are only available in the ‘hot’ programs. try all of them and just pick the one you like best!
3) setting = ‘0’ this completely mutes/removes the harmonic distortion. use this if you want a clean sound. not available in the ‘hot’ programs, only normal.
*those two new controls, combined with the now separate compressor programs, allow you to use any combination of the 3 elements of the ‘radio effect’, in any ratio you want. this includes the 1) radio filtering/tone, 2) the distortion, 3) the compression. use any or all of them, however you like!
*programs were further cleaned up of aliasing and other artifacts (like the infamous low freq ripple, which wasn’t very noticeable in most of these already). in some cases (usually higher input drive) the artifacts could be audible in the previous versions, but not here. now they’re almost always super low, well beyond inaudible.
*Admiral DO3 program greatly improved. i think somehow i damaged the samples for this one when i updated it last time. i don’t know how that got past me because the frequency response was obviously wrong. now it’s how it should be- very accurate. the frequency response readout in the skin was also updated to reflect this.
*peak hold indicator has now been added. i came up with this idea and have been adding it to my most recent releases. it’s just a readout value that tells you what your loudest recent input signal was at, in dBFS. handy for making sure you don’t go over 0dB. the skin was updated to include this peak value readout.
*added an alt version of the Admiral DO4 program. the original was accidentally recorded with some delayed feedback in the signal chain, but I liked it so i kept it in the collection. this new alt version removes the delays, offering a program more like the others. the harmonics still have the delay, so the hot programs can sound very interesting.
*a lot of the programs previously inverted the input signal. now they don’t.
*some of the impulses were improperly aligned, now they’re perfectly aligned. this is kind of technical and i’m not going to go into detail, but in some cases this fix did subtly affect the sound for the better.
*feedback control has been improved. you can now usually travel all the way to 100% or close before getting runaway feedback. this allows you to dial it in more precisely, if you ever use it.
*these changes make this updated version of the release the best sounding it has ever been.
*last and definitely not least, i got Max to modify his skin and make a new one for the compressor instance. the modifications were needed to accommodate all of my updates.
Update- Plates of Legend 4x
the updates here are similar to the updates for PoL 0-3. reel to reel taped programs were added (10 of them), and a newly updated skin was added, bringing official support to N4 for the program switching buttons.
Plates of Legend 2 and 3 update
The updates for 2 and 3 are pretty similar to the ones for 1 so I’m not going to list them all out again. They both got official skin support for N4, and some reel to reel taped programs. I’ve sent out the emails to all customers who bought 2 and 3 with information about the updates.
Update- Plates of Legend 1X
This is a major update to Plates of Legend 1 (now 1X).
- skin with program switching buttons has now been given official support with N4. that means there is a skin install guide included in the install package, walking you through the steps to get these types of skins working with N4, and the old style of N4 skin (without the program switching buttons) are gone forever!
- program switching skins for the PoL series were already available for n3, but instead of just bringing the same skins over for n4, i got max’s permission to do some edits to his skins. the original program switching skins (for n3) were set up in a way where each skin included programs from two or more releases. for example one skin had buttons you could use to load the main plate programs from Plates of Legend 0, PoL 3, and PoL4. it was convenient to have similar plates all in one place but it created a confusing situation, especially when trying to install the skins. what i’ve done is to edit the skins so that each PoL release now has its own skin. it results in less options per skin but less confusion in terms of how to install them, or which skin to load to find a particular plate. i’m adding new programs so that also made editing the skins necessary.
- a brighter, EQ’d version of the ‘Styx’ mono tube driven plate. the main version is very dark, but this one is much flatter and probably more useful in general.
- i added 7 new reverbs which were made by ‘resampling’ some of the Olympus plate program’s samples (mostly ones with quick decay) onto and off of reel to reel tape. three different decks were used (MCI-JH-24, Studer B67, and Otari MTR 10), and three different speeds (7.5, 15, and 30IPS), to give different tonal results. these programs still sound like the main one, but sound different from it and from each other, so they provide more variety.
- i had to update the programs to allow the newly edited skins to work. mainly i had to change which of Nebula’s ‘mix’ knobs are used for the controls in the programs, so they would be consistent across all programs. because of this i decided to rename the .n2p program filenames, so that these new programs (which are required for the new skins) can be installed along-side the old ones, allowing your old projects to still load properly.
- i removed the main gain in and gain out knobs from the skins because they’re pretty redundant when there’s a ‘reverb level’ control that basically does the same thing.
- some of the 88khz programs seemed to not be able to load. nobody ever reported this to me so maybe nobody is using these at 88khz, or maybe somehow the programs i had on disk got messed up. i’m not sure but either way it’s fixed now.
- the pseudo stereo styx plate program in PoL 1 96khz and 44.1khz versions had its level way too low. fixed.
- shortened lengths of some of the impulses in a few of the programs which were excessively long. they load slightly faster and use a little less CPU.
- the fade control in the Styx pseudo stereo program had an issue- at about the mid-way point it resulted in something like a slap-back reverb. now it’s a smooth transition from the full reverb to a nicer, faded and shortened reverb.
- the reverb gain control readout claimed it allowed up to 25dB boost or cut, but was really only giving you 12.5dB either way. now it gives the full 25dB. not that it matters but this change by itself ended up being a huge pain to do! you’d think something like this would be simple but it wasn’t, and after doing it i had to re-adjust the overall level of every program, which is also very annoying.
- adjusted the harmonics in some of the programs because they were either too loud or too quiet.
- made a lot of small adjustments, like ensuring that every reverb uses the same program rate, made sure every program is using the full length of their impulses (some weren’t), aren’t using any of Nebula’s fadeout (except for some of the lite versions), and a couple of tweaks to how the programs actually work ‘under the hood’ (very subtle).
- relabeled the meters to say ‘peak’ so it’s clear that these are dBFS peak meters instead of the VU style meters most of the skins for my stuff use.
Update- Plates of Legend Zero X
Major update to my first ever plate reverb release (originally called “Custom Plate”).
- skin with program switching buttons has now been given official support with N4. that means there is a skin install guide included in the install package, walking you through the steps to get these types of skins working with N4, and the old style of N4 skin (without the program switching buttons) are gone forever!
- program switching skins for the PoL series were already available for n3, but instead of just bringing the same skins over for n4, i got max’s permission to do some edits to his skins. the original program switching skins (for n3) were set up in a way where each skin included programs from two or more releases. for example one skin had buttons you could use to load the main plate programs from Plates of Legend 0, PoL 3, and PoL4. it was convenient to have similar plates all in one place but it created a confusing situation, especially when trying to install the skins. what i’ve done is to edit the skins so that each PoL release now has its own skin. it results in less options per skin but less confusion in terms of how to install them, or which skin to load to find a particular plate. i’m also adding new programs so that also made editing the skins necessary.
- i added 6 new programs which were made by ‘resampling’ the main custom plate program’s samples onto and off of reel to reel tape. three different decks were used (MCI-JH-24, Studer B67, and Otari MTR 10), and three different speeds (7.5, 15, and 30IPS), to give different tonal results. these programs still sound like the main one, but sound different from it and from each other, so they provide more variety.
- i had to update the programs to allow the newly edited skins to work. mainly i had to change which of Nebula’s ‘mix’ knobs are used for the controls in the programs, so they would be consistent across all programs. because of this i decided to rename the .n2p program filenames, so that these new programs (which are required for the new skins) can be installed along-side the old ones, allowing your old projects to still load properly.
- i removed the main gain in and gain out knobs from the skins because they’re pretty redundant when there’s a ‘reverb level’ control that basically does the same thing.
- the reverb gain control readout claimed it allowed up to 25dB boost or cut, but was really only giving you 12.5dB either way. now it gives the full 25dB. not that it matters but this change by itself ended up being a huge pain to do! you’d think something like this would be simple but it wasn’t, and after doing it i had to re-adjust the overall level of every program, which is also very annoying.
- made a lot of small adjustments, like ensuring that every reverb uses the same program rate, made sure every program is using the full length of their impulses (some weren’t), aren’t using any of Nebula’s fadeout (except for some of the lite versions), and a couple of tweaks to how the programs actually work ‘under the hood’ (very subtle).
New update- Cassette Deck 3, lots of things
Just got done sending out emails for a free update for this one, so if you bought it and didn’t get the email, check your junk/spam folder, and if you can’t find it there, contact me.
Probably the most interesting thing in this update is a load of new programs, 20 to be exact! They match up with all of the main tape tone programs (except for one). These programs are like with my CupReels AX102 release- programs just for recreating the sampled dynamics from the tapes.
So the idea is you pair one of these programs with the matching tape tone program to get the more complete model. These programs are set up differently to allow for the super fast, limiting-like instant tape compression you get with saturated tapes, which the main tone programs can’t provide.
You don’t have to always match them, you can do it however you like!
Max made a new alt version of the main skin for this one as well (as well as creating the new setups and skin install guide for N4 skins, and testing things), so thanks to him for that! Here’s what has been updated:
*48/88.2khz sample rates have been added.
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*Official support added for the kind of skins that allow program switching by pressing buttons on the skin, for use with N4. Previously those skins were only officially supported with N3. The skin install manual includes steps for installing these skins with N4 now.
*NEW PROGRAMS!! I’ve made a whole set of ‘dynamics only’ programs to go along with the main tape tone programs. These have a new skin for them, which is a modified version of the main skin. Every program but one, from the main tape tone set, now has a matching ‘dynamics only’ program. These programs are designed to recreate the tape compression effect that was sampled for each of the main tape programs. The main tape programs aren’t capable of reproducing this effect very well, so these programs handle that aspect now. To get the ‘full effect’ you would want to pair a tape tone program with the matching dynamics only program, but you could just use any t ape dynamics program by itself, or even mix and match the tone/dynamics programs in different combinations.
The dynamics programs do not include a gain reduction meter, unfortunately, because it seems like it’s not possible to have one with this type of program (actually you can, but you can’t have it AND a makeup control, so I chose to have the makeup control). So you’ll have to use your ears to match the levels by using the makeup control. To get more compression with these programs, simply increase input gain with the ‘trim’ control. You can push it pretty far, even farther than the main tone programs, because I ‘extended’ these dynamics only programs to allow for more compression than what was sampled, while still being authentic to the sampled compression knee/curve.
*The manual and skin install manual had to be updated to address all these additions. To install the program switching skins for N4, and the new dynamics only skin, you really need to follow the skin install manual step-by-step.
https://cupwise.com/shop/cassette-3-multi-effects-pack/Update- Cassetteverb
This update adds two new sample rates- 48khz and 88.2khz. It also gets rid of the old N4 skins that didn’t allow program switching, and adds official support for the program switching skins in N4 (they were formerly just for use with N3. Essentially this just means that Max made a new skin install guide that details how to install those skins in N4. thanks Max!
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The update also makes a tiny change to the programs and how they react to incoming inputs but it’s very subtle.
CupTone 2 improvements in removing/reducing artifacts
Unwanted artifacts are just a part of life when processing audio with digital tools, not just Nebula. Tools like DDMF’s Plugin-Doctor has helped us see these artifacts in a lot more detail, and by default a typical Nebula program will have many different types of them. Most of them tend to be present unless something is specifically done about them. In many cases these artifacts will be something you never notice, and they’re often so low in amplitude that it can be said they don’t even matter. In some cases they definitely do impact things negatively though.
For CupTone 2 I put extra effort into trying to reduce artifacts further than ever before. Disclaimer- That means further than *I* have ever done before. I’m not claiming to be the first person to do any of these improvements, and I don’t know what other Nebula devs are up to as I don’t really follow them. I’m just showing examples of what I’ve done to improve these programs myself. Anyone can look at any plug-in or Nebula program with Plugin-Doctor and see for themselves what they might find, and that has been discussed on various forums for a while now, so it’s no secret. Anyway, I’m going to explain each of the four types of artifacts I focused on, and present some graphs showing some examples.
- The infamous “low end ripple” – This artifact is caused by abrupt truncation of the impulses in a program. It would even happen with standard convolution (meaning, outside of Nebula), if using impulses sampled through something like a preamp. If the impulses are cut off at a shorter length, without any fadeout carefully applied to them, the end result is going to be a ripple. Here’s an example of a program with a ripple:
Here’s the same program from CupTone 2, but as it appears in the release, without the ripple:
2. The second type of artifacts are visible on the Harmonics graph in Plugin-Doctor. You see it as a bunch of stuff on the graph, anywhere besides where the actual lines/plots for the fundamental and harmonics appear. Anything outside of those lines is unwanted artifacts, and these do occur with non-Nebula plugins frequently. Here’s an example from a program (not one of mine) that shows pretty typical artifact levels for Nebula, unless something is done to bring them down:
You’ll notice that most of it is below 100dB, but if you look near the plot for the fundamental at 1khz, you can see stuff going up to around 60dB. Here’s a closer look at that zoomed in:
Some of my existing releases do show up like this on the graph, because I’ve only recently found ways to lower these specific artifacts, which I think are related to the nature of Nebula’s processing (processing the audio in chunks). Here’s an example from CupTone2, where I’ve significantly lowered these artifacts:
You can see that all of the stuff on this graph besides the fundamental tone at 1khz and the 6 harmonics above it, is well below -100dB, even below -125dB.
Some things to note about this type of artifact- When you load a program into Plugin-Doctor, and using PD’s default settings, you’re seeing a graph generated while the program is being slammed at test tones at an input level of 0dB inside Nebula. This shows you artifacts that are actually louder than what you’ll get during normal use, because you aren’t going to always have your input level at a constant 0dB, and you’re really supposed to avoid ever going all the way up that high anyway. So to get a real idea of the kind of artifact levels you’d have in normal use you’d want to use a lower input level, maybe around at least -10dB. Doing this, even with programs that haven’t been tweaked to lower these artifacts, results in much lower levels, usually well below -100dB.
Another thing to note is that the graph can be a bit visually misleading, because by default it’s showing you a view where the bottom half of the graph is under -100dB, which is well below anything you’re ever going to hear. But when you see it filled up with artifacts (like in the first example), it might lead you to believe that the tested plug-in or Nebula program will give you awful results, even though you may never be able to hear it, even with multiple passes of processing. In other words- it looks worse than it really is because of the scaling of the graph (which compounds the issue of the graph being made using atypical 0dB levels, by default).
So ultimately, these artifacts usually don’t really creep into your audio in any noticeable way, but in extreme cases they can. With a more typical input level going into the CupTone 2 programs, the artifacts are even quieter than the example above, which puts them so low that I consider them entirely insignificant.
3. The infamous “chirp”. This is well known in Nebula, going back years, to the beginning. It can happen with certain programs, usually ones with higher levels of harmonic content. It often happens if you have a transient signal, like a drum hit, that peaks close to 0dB, or in some cases even just going over something like -10dBFS into Nebula. Then you get a sudden unexpected, and often ear piercing “chirp” sound mingled into your audio.
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The cause of this artifact can be seen on the Hammerstein graph of Plugin-Doctor. look at the spikes above 2khz on the harmonic plot here (again this is not one of my programs but some of mine do show this, however I’ve been taking steps to minimize/eliminate this one for years and I think in most cases my programs will not chirp):
Those spikes are what you hear when you hear the chirping. Here’s an example of one of my programs from CupTone2:
Notice how much flatter and smoother the harmonic plots are. Some notes about this artifact: Again, just like with the previous one, Plugin-Doctor is showing you what happens with a signal at 0dB by default. This particular artifact is difficult to always completely remove, but the cases where spikes can still be seen in my own programs are usually with much lower input levels, and when the harmonics themselves have dropped to much lower levels, usually approaching -100dB, at which point the spikes won’t be audible, and even then they aren’t nearly as bad as the example showing them up above.
The fact is that these CupTone 2 programs simply wont “chirp” if you drive them very hot. In fact, I’ve even driven some of these programs OVER 0dB in testing and still didn’t get any horrible results. You still shouldn’t do this, because nothing was sampled above 0dB, so you’re ‘running out of samples’ at that point. You’re going beyond the sampled model and aren’t getting any sampled dynamic behavior beyond 0dB. Still, the point is that these programs won’t pierce your ears if you have a transient go in a little too hot.
4. One last type of ‘artifact’ that I don’t think I’ve ever seen anyone else mention, but I’m sure someone probably has at some point, is a form of noise that can occur on the freq response plot, in the highest frequencies. This only happens with higher sample rates, like 88.2 or 96khz, because it shows up above the nyquist frequencies of sample rates like 44.1 and 48khz. Because this noise is so high frequency you might think it doesn’t really matter, because it’s out of the range of human hearing. Also you might assume it would only get put into your audio signal if your audio signal already included content in those upper frequencies.
But I’ve actually seen cases where this noise gets added to a signal that doesn’t include frequencies that high to begin with. In one case I was processing drums with a program that had this high frequency noise, and the noise got added to the drums at a high enough level that it actually messed with a compressor I had later in the chain by crossing the threshold earlier and triggering intense compression. I was baffled at first, as to why I was getting so much compression, because I could hear that my drums were not at the kind of levels to trigger so much gain reduction. I checked everything out and noticed that when bypassing the Nebula instance, the compression went away. It was a very transparent program, but it was adding ‘invisible’ (inaudible) noise at super high frequencies that was raising the overall levels and triggering more compression down the line. I confirmed it by looking on Voxengo Span and I could see this inaudible noise being added to my drums and it was identical to the appearance of it in the program itself.
Here’s an example of this noise (not my program):
In this example you can also notice the low freq ripple and even the ‘chirp’ at around 5khz. The noise in question is over 20khz. I’ve seen examples where it’s much lower in level, and in those cases it doesn’t seem to become a problem, but when it’s really loud like this it can get into your audio signal at those frequencies, even if your audio doesn’t have content up there already.
Here’s an example of a CupTone 2 program, but this is another case where I’ve been working to deal with this noise, bringing it to inconsequential levels for a few years now, so the vast majority of my programs don’t have this minor issue already:
Not too long ago I looked at preamp/tone style programs as the easiest Nebula programs to make, and also the quickest to finalize. I even said that in the sampling guide I wrote for Sound on Sound magazine several years ago. I still think they’re among the least involved kind of programs to make, but if you just make them using the standard/straight forward process of sampling and deconvolving with NAT, you will get some or all of these artifacts, to various degrees. It takes extra time and work not only to learn how to deal with these things, but to actually do it, and I actually refined some of my personal methods during the creation of CupTone 2.
I think you’ll find that it’s one of the most pristine (meaning super low artifact levels) collections of tone style Nebula programs out there.
Nolard Springs gets a MAJOR update. New N4 skins, and sample rates
- 48/88.2khz programs/vectors were added.
- skins with buttons you can use to switch programs are now officially included for N4. formerly this only existed for N3. these replace the old style N4 skins that were much more simple and didn’t have the buttons.
- added new lite and full programs for the main spring which remove the tone and fade controls. these can be useful if you’d rather just use your own EQ on the reverb send in your DAW, or you know you just don’t want any EQ. in those cases you can use these versions and they will use less CPU/RAM and load quicker.
- previously, there were two sets of programs- one for if you install the skins, and one for if you don’t. now there’s just one set of programs. makes installation of the library less complicated.
- the program switching skins have not only been ported over for use in N4 as well as N3, but have also been updated. the skin used to include buttons for both 44.1khz and 96khz programs. now each sample rate has its own skin. this is less confusing, and also allowed me to combined the main and pseudo stereo programs onto one skin. previously they were separate.
- another skin update- i’ve added the little value indicator windows to all relevant knobs, so you can see exact values for your settings, which i think is always handy to have. I also reorganized the program buttons and added some labels to them to make them less confusing.
- vectors were re-edited to trim off some excess length for the harmonic kerns. there was extra length in those impulses that wasn’t even being used by the programs, but was still loading, taking up resources. trimming that length down allows the full program versions to load faster than in the past.
- the pseudo stereo with fade, full version program didn’t have any harmonics. but it was supposed to. that’s fixed.
- all programs had to be updated to allow the newly updated skins to function properly.
- programs were also updated with some minor changes to how they react to audio levels. it’s subtle.
- manual and skin install guide rewritten to account for these changes.
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Echo Chambers 3 and 4 both get updates- new sample rates and skins
here’s the updates:
*max did skins for N3 and N4, with the ability to switch between the various programs by clicking buttons.
*48/88.2khz added.
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*CPU cost of the reverbs is now less than half what it was, because the multiple reverbs contained in each program have been parted out, and split up into separate programs. the reason i had mutiple reverbs in each program in the past was for convenience, so you could select between several different reverb choices quickly, without having to use nebula’s program finder list to pick the next one. now that we can have a GUI with program switching buttons for N4 as well as N3, we can just use the buttons to hear each reverb. also, parting out the reverbs like this makes the button UI work better than it would have, had i not done it. so this also really improves the organization/presentation and ability to audition every reverb quickly without getting confused.
*i’ve added a control allowing you to adjust the level of the early reflections. this didn’t exist in the old versions.
*harmonic levels were adjusted to be more accurate.