N-MELBOURN CLASSIC CONSOLE N4/N3: Manual
Library Creator: Michael Angel, www.CDSoundmaster.com
Manual Index
Installation
Setting Levels (-18dBFS et al)
Editing Process
The Programs
About The Hardware
For PC Users:
Use the included installer to select your NebulaTempRepository Folder to install
the collection there. Or, you can simply copy all “n2p” files to your
Nebula “Programs” folder and copy all “n2v” files to your “Vectors” folder.
For Mac Users:
Copy all “n2p” files to your Nebula “Programs” folder and copy all “n2v” files to your “Vectors” folder.
A note about setting levels
A note about setting levels
Many people have questions about the best way to set up their audio files, DAW tracks, buss groups, or Nebula Pro plug-in and program libraries as it pertains to volume levels.
The following pertains to this collection and to other libraries created by CDS.
Because programs like this collection, often classified as “preamp” programs in NebPro, focus around the ability to recreate a very wide dynamic range from the original hardware device, you are able to choose your level-setting options however you wish, and you are still recreating the same levels from the hardware emulated.
This means that if you wish to process all of your files by normalizing them to a certain maximum or averaged volume, you may do so. If you wish to leave files at whatever levels they are recorded and set levels using DAW track faders, you can do so. If you wish to calibrate your DAW levels based upon a VU level, based on an RMS, like -18dB=0 dBFS, or 0dB VU, or a -20dB, -24dB, -12dB weighting or any other setting, you will get the same analog response from the program you run inside NebPro.
The analog nature of these programs is not just based around the dynamic range and best average, min,. or max. level setting, but on the variants that are involved in analog that do not exist in digital. Specifically, this is in regards to “lighter” lower level settings versus pushing the gain “into the red”. The point is that analog tends to get a little more interesting, non-linear, and even driven or distorted, when pushed beyond a certain point.
If you place all attention in setting averaged levels to match a monitoring calibration, you may not be fully aware of the capabilities in coloring your sound intentionally, even subtly, by pushing levels a little harder. For this purpose, it is helpful for you to also know that my programs are edited to a max peak=real digital 0dB, meaning that you can take your files and push them all the way to 0dB digital and you are going into the most pleasant coloration of the analog signal without going over. So, no matter how you wish to run your files, levels, programs, you can choose to set low levels, averaged levels, or prevent from peaks going over, and you will get the same natural reaction from the NebPro programs from CDS.
A note about the configuration of programs
A note about the configuration of programs
Over the years, there have been numerous updates and developments inside the Nebula engine. Consistency and accuracy have been my number one interest on behalf of the customer. At one point concerns over how to properly gain-stage levels based on peak or rms or absolute average, median, or -18dBFS vs -18dB max peak etc. Lack of understanding and forum discussions caused a sense of worry and paranoia over how to record and properly mix an album. That progressed into LUFS standards which are certain to change again and again. Until something drastic and different in analog and digital comes along, the electronics and concept of representing electronics in the digital domain have not changed, but trends and gimmicks will come and go. Keep in mind just how much money is made in marketing to people’s worries, fears, and ignorance.
Similarly, there are often unique approaches to recording, sampling, editing, and deconvolving etc, among Third Party Developers for Nebula (others, including myself should be prominently displayed on the new company website, since from the inception, that has been the case- as official 3rd party developers, we largely developed the customer community). From cleaning of files to the reduction of artifacts, level setting and a myriad of options; if an approach leads to excellence in sound, it has my highest respect even if it is unique to my own. I hold the highest regards for some different recording and editing processes that lead to equally excellent results. There are valid reasons for making different adjustments and edits, and these are usually performed thoughtfully and with purpose.
Waveforms can be adjusted, edited, lengthened shortened, kernels, or chunks of data can be adjusted in the deconvolution and also changed inside the Nebula engine. Each variation has a benefit, and can also cause a cascade of other changes to the engine’s interpretation of the analog hardware. The issue may not be as much in the approach as it is in theinterpretaton from others seeking to analyze visualization without the experience of working with the source or with the convolution process.
A perfect example is the distinction between intentional harmonic distortion, even order stacked to represent accurately the wonderful non-linearities of the real hardware. In algo-based plug-in coding, harmonics can also represent inter-sample distortions and aliasing artifacts that are not at all intended.
Harmonic distortion is also generated from changes in timing like compression, which we want to preserve the affects from real analog hardware, but if developing an algo-based digital compressor, the goal may be to utilize upsampling to eliminate as much distortion as possible. The visuals of the good and bad can look similar if not identical, but one is very intentional and one is a result of troubled digital, not wonderful analog.
My standard for bringing you these programs, whether console, tape, tube or other, is that they match the original real hardware as accurately as possible; visually and in the audio. I choose to retain real analog anomalies far above and below the audible listening range as long as they match the actual audio response of the hardware. Nebula for all its benefits, also has limitations. There is a creative process that goes along with the science, which is part of why it benefits the customer to enjoy similar hardware items from different top-tier developers due to their subtle variation.
For this purpose, I am using this Melbourn collection as an opportunity to provide you, the customer, with a detailed, exhaustive audio session library in video content and audio samples.
I want you see and hear for yourself the absolute sincere recreation of the hardware up to the very height of Nebula’s capability. Anything beyond this is pushing the engine into territory that it is not capable of reproducing.
Again, I have the absolute highest respect for those who are taking alternate approaches; there are absolutely valid reasons for making different adjustments and edits, and these are performed thoughtfully and with purpose.
The end result with these libraries, by myself and the other true official developers, is an authentic representation of hardware you are unlikely to find in plug-ins outside of Nebula.
Programs
N-MELBOURN CLASSIC CONSOLE FOR N4/N3 Commercial Manual consists of 74 programs: You will find these in your CDSoundMaster category under CDS>MEL.
Programs are sampled at 96kHz and are tested to retain accuracy at 44.1kHz and 48kHz sample rates with the latest version of Nebula Pro (N3/N4). They are designed to be used with the Reverb instance of earlier commercial Nebula versions.
Program Description:
Melbourn-C1-D1
This is the line level Channel 1 of the Melbourn at the first amplification gain stage, the lowest of 6 fixed volume settings. This drives the signal through the input and output Belclere transformers and original “N” amp card and all electronics in between. This program includes 10 orders of harmonic distortion carefully edited to match the absolute accurate recreation of the original hardware.
Melbourn-C1-D2
This is the line level Channel 1 of the Melbourn at the second amplification gain stage of 6 fixed volume settings. This drives the signal through the input and output Belclere transformers and original “N” amp card and all electronics in between. This program includes 10 orders of harmonic distortion carefully edited to match the absolute accurate recreation of the original hardware.
Melbourn-C1-D3
This is the line level Channel 1 of the Melbourn at the third amplification gain stage of 6 fixed volume settings. This drives the signal through the input and output Belclere transformers and original “N” amp card and all electronics in between. This program includes 10 orders of harmonic distortion carefully edited to match the absolute accurate recreation of the original hardware.
Melbourn-C1-D4
This is the line level Channel 1 of the Melbourn at the fourth amplification gain stage of 6 fixed volume settings. This drives the signal through the input and output Belclere transformers and original “N” amp card and all electronics in between. This program includes 10 orders of harmonic distortion carefully edited to match the absolute accurate recreation of the original hardware.
Melbourn-C1-D5
This is the line level Channel 1 of the Melbourn at the fifth amplification gain stage of 6 fixed volume settings. This drives the signal through the input and output Belclere transformers and original “N” amp card and all electronics in between. This program includes 10 orders of harmonic distortion carefully edited to match the absolute accurate recreation of the original hardware.
Melbourn-C1-D6
This is the line level Channel 1 of the Melbourn at the sixth amplification gain stage of 6 fixed volume settings. This drives the signal through the input and output Belclere transformers and original “N” amp card and all electronics in between. This program includes 10 orders of harmonic distortion carefully edited to match the absolute accurate recreation of the original hardware.
Melbourn-C2-D1
This is the line level Channel 2 of the Melbourn at the first amplification gain stage, the lowest of 6 fixed volume settings. This drives the signal through the input and output Belclere transformers and original “N” amp card and all electronics in between. This program includes 10 orders of harmonic distortion carefully edited to match the absolute accurate recreation of the original hardware.
Melbourn-C2-D2
This is the line level Channel 2 of the Melbourn at the second amplification gain stage of 6 fixed volume settings. This drives the signal through the input and output Belclere transformers and original “N” amp card and all electronics in between. This program includes 10 orders of harmonic distortion carefully edited to match the absolute accurate recreation of the original hardware.
Melbourn-C2-D3
This is the line level Channel 2 of the Melbourn at the third amplification gain stage of 6 fixed volume settings. This drives the signal through the input and output Belclere transformers and original “N” amp card and all electronics in between. This program includes 10 orders of harmonic distortion carefully edited to match the absolute accurate recreation of the original hardware.
Melbourn-C2-D4
This is the line level Channel 2 of the Melbourn at the fourth amplification gain stage of 6 fixed volume settings. This drives the signal through the input and output Belclere transformers and original “N” amp card and all electronics in between. This program includes 10 orders of harmonic distortion carefully edited to match the absolute accurate recreation of the original hardware.
Melbourn-C2-D5
This is the line level Channel 2 of the Melbourn at the fifth amplification gain stage of 6 fixed volume settings. This drives the signal through the input and output Belclere transformers and original “N” amp card and all electronics in between. This program includes 10 orders of harmonic distortion carefully edited to match the absolute accurate recreation of the original hardware.
Melbourn-C2-D6
This is the line level Channel 2 of the Melbourn at the sixth amplification gain stage of 6 fixed volume settings. This drives the signal through the input and output Belclere transformers and original “N” amp card and all electronics in between. This program includes 10 orders of harmonic distortion carefully edited to match the absolute accurate recreation of the original hardware.
Melbourn-C1-M1
This is the microphone electronics from Channel 1 of the Melbourn at the first amplification gain stage of 6 fixed volume settings. This drives the signal through the input and output Belclere transformers and original “N” amp card and all electronics in between. This program includes 10 orders of harmonic distortion carefully edited to match the absolute accurate recreation of the original hardware.
Melbourn-C1-M2
This is the microphone electronics from Channel 1 of the Melbourn at the second amplification gain stage of 6 fixed volume settings. This drives the signal through the input and output Belclere transformers and original “N” amp card and all electronics in between. This program includes 10 orders of harmonic distortion carefully edited to match the absolute accurate recreation of the original hardware.
Melbourn-C1-M3
This is the microphone electronics from Channel 1 of the Melbourn at the third amplification gain stage of 6 fixed volume settings. This drives the signal through the input and output Belclere transformers and original “N” amp card and all electronics in between. This program includes 10 orders of harmonic distortion carefully edited to match the absolute accurate recreation of the original hardware.
Melbourn-C1-M4
This is the microphone electronics from Channel 1 of the Melbourn at the fourth amplification gain stage of 6 fixed volume settings. This drives the signal through the input and output Belclere transformers and original “N” amp card and all electronics in between. This program includes 10 orders of harmonic distortion carefully edited to match the absolute accurate recreation of the original hardware.
Melbourn-C1-M5
This is the microphone electronics from Channel 1 of the Melbourn at the fifth amplification gain stage of 6 fixed volume settings. This drives the signal through the input and output Belclere transformers and original “N” amp card and all electronics in between. This program includes 10 orders of harmonic distortion carefully edited to match the absolute accurate recreation of the original hardware.
Melbourn-C1-M6
This is the microphone electronics from Channel 1 of the Melbourn at the sixth amplification gain stage of 6 fixed volume settings. This drives the signal through the input and output Belclere transformers and original “N” amp card and all electronics in between. This program includes 10 orders of harmonic distortion carefully edited to match the absolute accurate recreation of the original hardware.
Melbourn-C2-M1
This is the microphone electronics from Channel 2 of the Melbourn at the first amplification gain stage, the lowest of 6 fixed volume settings. This drives the signal through the input and output Belclere transformers and original “N” amp card and all electronics in between. This program includes 10 orders of harmonic distortion carefully edited to match the absolute accurate recreation of the original hardware.
Melbourn-C2-M2
This is the microphone electronics from Channel 2 of the Melbourn at the second amplification gain stage of 6 fixed volume settings. This drives the signal through the input and output Belclere transformers and original “N” amp card and all electronics in between. This program includes 10 orders of harmonic distortion carefully edited to match the absolute accurate recreation of the original hardware.
Melbourn-C2-M3
This is the microphone electronics from Channel 2 of the Melbourn at the third amplification gain stage of 6 fixed volume settings. This drives the signal through the input and output Belclere transformers and original “N” amp card and all electronics in between. This program includes 10 orders of harmonic distortion carefully edited to match the absolute accurate recreation of the original hardware.
Melbourn-C2-M4
This is the microphone electronics from Channel 2 of the Melbourn at the fourth amplification gain stage of 6 fixed volume settings. This drives the signal through the input and output Belclere transformers and original “N” amp card and all electronics in between. This program includes 10 orders of harmonic distortion carefully edited to match the absolute accurate recreation of the original hardware.
Melbourn-C2-M5
This is the microphone electronics from Channel 2 of the Melbourn at the fifth amplification gain stage of 6 fixed volume settings. This drives the signal through the input and output Belclere transformers and original “N” amp card and all electronics in between. This program includes 10 orders of harmonic distortion carefully edited to match the absolute accurate recreation of the original hardware.
Melbourn-C2-M6
This is the microphone electronics from Channel 2 of the Melbourn at the sixth amplification gain stage of 6 fixed volume settings. This drives the signal through the input and output Belclere transformers and original “N” amp card and all electronics in between. This program includes 10 orders of harmonic distortion carefully edited to match the absolute accurate recreation of the original hardware.
Melbourn-C1-M1-20
This is the microphone electronics from Channel 1 of the Melbourn at the first amplification gain stage of 6 fixed volume settings. It is set with the -20dB pad engaged, providing a unique tonal and harmonic character from the microphone without the pad engaged. This drives the signal through the input and output Belclere transformers and original “N” amp card and all electronics in between. This program includes 10 orders of harmonic distortion carefully edited to match the absolute accurate recreation of the original hardware.
Melbourn-C1-M2-20
This is the microphone electronics from Channel 1 of the Melbourn at the second amplification gain stage of 6 fixed volume settings. It is set with the -20dB pad engaged, providing a unique tonal and harmonic character from the microphone without the pad engaged. This drives the signal through the input and output Belclere transformers and original “N” amp card and all electronics in between. This program includes 10 orders of harmonic distortion carefully edited to match the absolute accurate recreation of the original hardware.
Melbourn-C1-M3-20
This is the microphone electronics from Channel 1 of the Melbourn at the third amplification gain stage of 6 fixed volume settings. It is set with the -20dB pad engaged, providing a unique tonal and harmonic character from the microphone without the pad engaged. This drives the signal through the input and output Belclere transformers and original “N” amp card and all electronics in between. This program includes 10 orders of harmonic distortion carefully edited to match the absolute accurate recreation of the original hardware.
Melbourn-C1-M4-20
This is the microphone electronics from Channel 1 of the Melbourn at the fourth amplification gain stage of 6 fixed volume settings. It is set with the -20dB pad engaged, providing a unique tonal and harmonic character from the microphone without the pad engaged. This drives the signal through the input and output Belclere transformers and original “N” amp card and all electronics in between. This program includes 10 orders of harmonic distortion carefully edited to match the absolute accurate recreation of the original hardware.
Melbourn-C1-M5-20
This is the microphone electronics from Channel 1 of the Melbourn at the fifth amplification gain stage of 6 fixed volume settings. It is set with the -20dB pad engaged, providing a unique tonal and harmonic character from the microphone without the pad engaged. This drives the signal through the input and output Belclere transformers and original “N” amp card and all electronics in between. This program includes 10 orders of harmonic distortion carefully edited to match the absolute accurate recreation of the original hardware.
Melbourn-C1-M6-20
This is the microphone electronics from Channel 1 of the Melbourn at the sixth amplification gain stage of 6 fixed volume settings. It is set with the -20dB pad engaged, providing a unique tonal and harmonic character from the microphone without the pad engaged. This drives the signal through the input and output Belclere transformers and original “N” amp card and all electronics in between. This program includes 10 orders of harmonic distortion carefully edited to match the absolute accurate recreation of the original hardware.
Melbourn-C2-M1-20
This is the microphone electronics from Channel 2 of the Melbourn at the first amplification gain stage of 6 fixed volume settings. It is set with the -20dB pad engaged, providing a unique tonal and harmonic character from the microphone without the pad engaged. This drives the signal through the input and output Belclere transformers and original “N” amp card and all electronics in between. This program includes 10 orders of harmonic distortion carefully edited to match the absolute accurate recreation of the original hardware.
Melbourn-C2-M2-20
This is the microphone electronics from Channel 2 of the Melbourn at the second amplification gain stage of 6 fixed volume settings. It is set with the -20dB pad engaged, providing a unique tonal and harmonic character from the microphone without the pad engaged. This drives the signal through the input and output Belclere transformers and original “N” amp card and all electronics in between. This program includes 10 orders of harmonic distortion carefully edited to match the absolute accurate recreation of the original hardware.
Melbourn-C2-M3-20
This is the microphone electronics from Channel 2 of the Melbourn at the third amplification gain stage of 6 fixed volume settings. It is set with the -20dB pad engaged, providing a unique tonal and harmonic character from the microphone without the pad engaged. This drives the signal through the input and output Belclere transformers and original “N” amp card and all electronics in between. This program includes 10 orders of harmonic distortion carefully edited to match the absolute accurate recreation of the original hardware.
Melbourn-C2-M4-20
This is the microphone electronics from Channel 2 of the Melbourn at the fourth amplification gain stage of 6 fixed volume settings. It is set with the -20dB pad engaged, providing a unique tonal and harmonic character from the microphone without the pad engaged. This drives the signal through the input and output Belclere transformers and original “N” amp card and all electronics in between. This program includes 10 orders of harmonic distortion carefully edited to match the absolute accurate recreation of the original hardware.
Melbourn-C2-M5-20
This is the microphone electronics from Channel 2 of the Melbourn at the fifth amplification gain stage of 6 fixed volume settings. It is set with the -20dB pad engaged, providing a unique tonal and harmonic character from the microphone without the pad engaged. This drives the signal through the input and output Belclere transformers and original “N” amp card and all electronics in between. This program includes 10 orders of harmonic distortion carefully edited to match the absolute accurate recreation of the original hardware.
Melbourn-C2-M6-20
This is the microphone electronics from Channel 2 of the Melbourn at the sixth amplification gain stage of 6 fixed volume settings. It is set with the -20dB pad engaged, providing a unique tonal and harmonic character from the microphone without the pad engaged. This drives the signal through the input and output Belclere transformers and original “N” amp card and all electronics in between. This program includes 10 orders of harmonic distortion carefully edited to match the absolute accurate recreation of the original hardware.
Melbourn-Mains
This is the Melbourn’s main summing output fed by a single channel. Use this program in your main output stereo pair. You can set this before your mastering tape and brickwall limiter on the ful mix. This program includes 10 orders of harmonic distortion carefully edited to match the absolute accurate recreation of the original hardware.
The following programs are designated “C”. They are the same as the programs that share a corresponding name. “Clean” means that they provide you the dynamic layered frequency range of the program without any harmonic distortion. These are provided as an option if you wish to use other programs or settings for saturation but wish for the sonic subtle spectrum from the Melbourn.
Melbourn-C1-D1C
Melbourn-C1-D2C
Melbourn-C1-D3C
Melbourn-C1-D4C
Melbourn-C1-D5C
Melbourn-C1-D6C
Melbourn-C2-D1C
Melbourn-C2-D2C
Melbourn-C2-D3C
Melbourn-C2-D4C
Melbourn-C2-D5C
Melbourn-C2-D6C
Melbourn-C1-M1C
Melbourn-C1-M2C
Melbourn-C1-M3C
Melbourn-C1-M4C
Melbourn-C1-M5C
Melbourn-C1-M6C
Melbourn-C2-M1C
Melbourn-C2-M2C
Melbourn-C2-M3C
Melbourn-C2-M4C
Melbourn-C2-M5C
Melbourn-C2-M6C
Melbourn-C1M1-20
Melbourn-C1M2-20
Melbourn-C1M3-20
Melbourn-C1M4-20
Melbourn-C1M5-20
Melbourn-C1M6-20
Melbourn-C2M1-20
Melbourn-C2M2-20
Melbourn-C2M3-20
Melbourn-C2M4-20
Melbourn-C2M5-20
Melbourn-C2M6-20
Melbourn-MainsC
About The Hardware
About the N-Melbourn Hardware
The original console that inspires this collection is a one-of-a-kind, original “N” Melbourn, all discrete Class AB 12×2 with no sub/buss group. This is the classic 3114, discrete BA card path, all refurbished with original matching electronics, custom designed with 12 line, mic channels, no EQ, and matched summing from the original main buss out, featuring the lush sounding Belclere XFO’s.
This collection provides important options for line and mic direct outs and bussed to the mains. The variation of different gain staging, line-level direct inputs (DI), mic gain, and the mic’s -20dB PAD makes it possible to mix even large track number mixes with incredible variation according to the classic tone you want from track to track. I’ve provided visualization graphs below so you can see the variation of frequency spectrum from different volume amplification settings.
The Melbourn is known for maintaining the desired air and openness of the Class A “80” series consoles, with a little more drive slightly earlier in the gain staging. Still very high output clarity, but desired for its ability to slightly saturate the levels as desired.
The 12x2x2 and 12x4x2 side car variations sell for as much as $40-75,000 in refurbished conditions. I’m happy to own a final converted racked pair of two channels from the console. The Transformers are the finicky but remarkable-sounding Belclere originals with 3114 “BA” discrete amp cards+electronics.
The Mic electronics are wired in reverse polarity and the D.I. is in regular polarity, in keeping with the electronics wiring in this unit, so it is kept identical in the collection.
I truly hope that this collection adds to your enjoyment of Nebula.
Thanks and God Bless You.
Sincerely,
Michael Angel
CDSoundMaster.com
CDS is Classically Defined Sound